The Batman: review of the film

Breakable heroes, driven by revenge and lies. A film that lets itself be consumed with greed, like a cigarette on the lips.

The Batman it’s a beautiful scratch. Matt Reeves tangles suggestions, gothic atmospheres and bright notes of classical music in order to scrape off the patina of the mask behind which (on this occasion) the face of Robert Pattinson, giving back to the public the representation of a man torn, broken, disappointed. Just like Gotham, to which the dark knight is inextricably linked, so Bruce Wayne will be forced to rebuild the rubble of his existence, in a process of renewal as subtle as it is painful, slow and exhausting.

Starting from the comic matter contained in the volumes Batman: Year One, Batman: The Long Halloween and Batman: Ego and other stories Matt Reeves (supported in the screenplay by Peter Craig) cuts out a particular vision of the bat man on celluloid, in a noir-like journey that leads us to the origins of the hero of DC Comics. The world he paints is sharp, vibrant, damn real; manages to pierce the screen by infiltrating the meanders of a future past, in such a lucid and dystopian photograph of a small reality afflicted by the discomforts of megalopolises in which the pouring rain is not enough to wash away the crime that flows serpentine along the streets and in the bowels of Gotham. The photograph of Greig Fraser seems to quote heavily Blade Runner. But there are no androids here, only men thirsty for corruption, hatred and revenge. Already, vendetta, this is the feeling that moves the hero of The Batman: as in an epic poem he appears invincible and inscrutable and everything starts from his anger, from the forced abandonment to which the death of his parents forced him, from the inability to forgive himself, from the fear of showing himself. Like the night he falls on crime, announced by a play of light and shadow that is the synthesis of an ambiguous philosophy and a legendary graphic style. In that part that is not exposed to the light Gotham vomits all the rot he is capable of, all the lies and secrets of a past forced to return again and again.

The Batman: Revenge is the engine of the action in Matt Reeves’ film

They think you hide me in the shadows, but I am the shadow.

In this new adaptation, the city limits seem to expand just enough to incorporate the peripheries of every place within it, but the city founded by the Waynes remains an unhappy island in which to atone for sins. It is modern and ancient at the same time, it is the decomposed sum of an unfinished evolution. She is overwhelmed by deceptions, by drugs, by crime. Nothing in it is as it appears: it unfolds like a twisted labyrinth between the slums, the puppet clubs, the dilapidated buildings. There is always a mystery behind everything Bruce encounters: people, writings, gadgets, carpets.

If the “good” are driven to fight animated by revenge, the “bad guys” (but not only) slip on the blades of the lie and all the narrative of The Batman is divided into a puzzle to be solved. Considering that in the film our vigilante has been playing his hero role for just a year, collaborating with justice and playing detective, while facing the ghosts of his past and his present at the same time, it is not surprising to track down in the film produced by Matt Reeves with Dylan Clark (with Michael E. Uslan, Walter Hamada, Chantal Nong Vo and Simon Emanuel as executive producers) traces of origin story, noir, family drama.
Paul Dano, unsuspected interpreter of Edward Nashton, aka the Riddler, is the perfect villain in a world that moves with followers and blackmail: a psychopathic nerd who clings to the disparity between social classes, blackmailing with the truth that others hide and keeping an entire community in check. His invisibility, his cunning, constitute the added value within a plot that otherwise would sin of simplism and instead knows how to consume itself on the eyes like a cigarette on the lips, lightening the weight of a minute that appears excessive only on paper.

Robert Pattinson: the melancholy and strength of the hero

The Batman Cinematographe.it

However, all the performers know how to be perfect in their own way, from Jeffrey Wright in the role of detective James Gordon to Alfred Pennyworth played by Andy Serkis, necessarily passing through Zoë Kravitz, who lends her face to a Selina Kyle / Catwoman capable enough of looking after herself, to add notes of sporadic altruism, but hurrying to leave the scene to please (as per the character’s tradition) the feline instinct of independence . The role of the corrupt Carmine Falcone fits perfectly with an always excellent John Turturro, even if the most dazzling transformation is certainly attributable to Colin Farrell’s Penguin.
Characters who move on the big screen, trying to shake off the heavy comic masks, all complicit in their own way in highlighting the half-hidden face of Robert Pattinson: his hard and melancholy features know how to leave room for the power that pervades his body and the weakness of his mind; they know how to be a blank canvas on which to superimpose a million other faces, guided by a profound sense of helplessness, justice and, of course, revenge.

Michael Giacchino’s soundtrack in The Batman: a bath of sacred cruelty

To sprinkle with epicness and grace The Batmanmore than William Hoy’s perfect montage, more than Jacqueline Durran’s costumes, is the soundtrack of Michael Giacchino: dark and sensual, it pierces images in thoughts, sinking needles of immeasurable wonder. In a carousel of destruction, music favors evil and at the same time dissociates from it, acting as a torch in the darkness and leading us to a mutilated victory in which destruction coincides with light, with reconstruction. The soundtrack envelops songs capable of supporting every sequence, from the electric chaos of a disco to the sublime and sacred symphony of Schubert, whose Ave Maria recurs in the topical moments, compensating with prayers the harm done to others.

The Batmanwe said at the beginning, it is a scratch: the nails of the narration sink firmly into our eyes, into our ears. The world we live in, for about three hours, remains outside our head, while all the sensations let themselves be anesthetized by the mute cry of a man who carries on his shoulders the cross of heroism, altruism, justice. In the end, that man becomes something else, he tears his ego apart and penetrates our world, he becomes one of us. There is no revenge, there is no fear, there is no grudge. It is only the cutting-edge history of the world which, torn to pieces, tries to recompose itself, to trust again.

The film will be in theaters on March 3, 2022, distributed by Warner Bros. Pictures.


Direction – 5


Screenplay – 5


Photography – 5


Acting – 5


Sound – 5


Emotion – 5

The Batman: review of the film – Cinematographe.it