The Batman (2022) Review
“They think I’m hiding in the shadows, but I am the shadows.”
On a rainy morning in San Diego, a similar downpour enveloped Gotham City on the silver screen. Early in the film, director Matt Reeves employs two masterstrokes: Bruce Wayne’s voice-over, effectively quells any reservations over Robert Pattinson’s casting, and, showcasing how the bat signal terrorizes Gotham’s criminal underbelly — ever anxious, constantly peering over their shoulders, dreading the shadowy specter of Batman lurking in dark alleys — cementing early on the Dark Knight’s terrifying stature.
When the film was first announced with Matt Reeves at the helm, I was optimistic, having seen Reeves’ brilliance with the “Planet of the Apes” franchise. Yet, Pattinson’s casting gave me pause. Except for one Safdie brothers’ film (Good Time, 2017), Pattinson’s previous roles left me skeptical about his ability to embody the Dark Knight. However, Reeves drew out a performance from him that proved me wrong.
Pattinson’s Batman voice was impeccable, and he channeled Tom Hardy’s ability to express deeply with just his eyes. However, his cold and distant portrayal of Bruce Wayne felt less engaging. Then again, a man who dons a cape and cowl to grapple with his traumas might not exactly be the life of the party.
A highlight for me was the evolving camaraderie between Batman and Lieutenant Jim Gordon, portrayed effortlessly by Jeffrey Wright. Their interactions added moments of levity to an otherwise intense narrative.
Though Andy Serkis reunites with Reeves as the steadfast butler, Alfred, his rendition felt somewhat lackluster. The introduction of a cane, presumably for differentiation, comes off as more superfluous than symbolic. Despite being the king of motion capture, Serkis seems to struggle with embodying a live-action role that resonates deeply.
Paul Dano’s Riddler was initially enthralling, until he reverted to his signature shrill vocal shift — a trait that has detracted from his performances in the past. It’s unfortunate, especially since he had crafted an eerily effective voice that was both menacing and unsettling.
The character chewing all of the scenery however was Colin Farrell’s Oswald Cobblepot, or ‘Oz’. With an HBO series on the horizon, I’m eager to see his evolution into the iconic Penguin.
Conversely, John Turturro’s Carmine Falcone was disappointingly sidelined, given Turturro’s renowned prowess.
Michael Giacchino’s score, infused with haunting undertones, was perfect for this gritty Gotham. His compositions for the Batman-Selina dynamics intriguingly echoed James Bond-esque romantic motifs.
One particular highlight is the electrifying ‘Highway to the Anger Zone’, featuring an intense car chase with the Batmobile. When the engine roars to life, what follows is a master class in editing and pacing. This sequence is so exhilarating, it might just set a new benchmark for cinematic chase scenes. However, certain special effects felt jarring, disrupting the realism Reeves painstakingly established.
Experiencing the film in Dolby was a treat, but in hindsight, IMAX’s expansive canvas might have better complemented its breathtaking cinematography.
Reeves’ choice of the Arri Alexa LF anamorphic camera lenses was a stroke of genius, rendering a fresh visual aesthetic to the Batman universe. His numerous nods to previous iterations — from Nolan’s realism to Schumacher’s unique lighting, and even fleeting homages in the score and Pattinson’s cowl — highlight his reverence for Batman’s cinematic legacy. Clearly, Reeves’ affection for the Caped Crusader shines through, and he does the character profound justice.
