Director: Matt Reeves

Starring: Robert Pattinson, Paul Dano, Zoe Kravitz, Jeffrey Wright

Primary genre: Superhero

Nominated for: Best sound, makeup and hairstyling, visual effects

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Matt Reeves’ (“Cloverfield” (2008), “Let Me In“ (2010)) take on the dark knight is an unexpectedly refreshing reboot in a sea of blunt and cookie cutter CGI spectacles that we have endured for the last decade or so.

Making out the most of Batman’s lengthy villain gallery, setting and mythos and maximizing the aspects that declare the Dark Knight the world’s greatest detective, the film feels what a superhero entry can be if David Fincher was allowed to direct. Invoking a similar aesthetic from Fincher’s masterpiece “Seven” (1995), we witness a series of brutal murders committed by The Riddler. With an auteuristic eye and taking notes from Todd Phillips’ mega successful “Joker” (2019), his version of Gotham is a far cry from Christopher Nolan’s pristine metropolis. Dirty, rain soaked and filled with scumbags at every corner, it’s a playground for the demented actions of various gangs and notorious criminals (credit to the production design of James Chinlund).

A running time of three hours is enough for Reeves (who also wrote the script) to explore in detail an effective murder mystery (pushing the PG-13 rating to its limit) that extends beyond the typical agenda of evil plans and world domination, bearing some resonance to the real world. The film provides a clear structure that maps consistently several events, interconnected characters and locations throughout Gotham without relying on copious amounts of exposition or infect them with identity politics. Putting Batman in his second year of crime fighting is an inspiring story wise choice that brings an immature side for our hero prone to make mistakes that can and may eventually affect the stakes, something that ultimately designates Reeves’ take on the material even more compelling.

Deprived from large scale spectacle and pompous action sequences, the proceedings have more in common with a CSI episode than with some of the previous more bombastic Batman entries, yet they never fail to entertain, providing much needed suspense (e.g., a funeral segment is particularly well-crafted) and a sense of vulnerability. With short outbursts of (convincing) violence and the exposure of political corruption, Reeves’ script keeps the momentum going till the credits roll focusing (perhaps for the first time ever) more on Batman’s intelligence instead in the physical prowess.

In what could be described as a M. Night Shyamalan twist, Robert Pattinson’s performance as the caped crusader is remarkably effective, Reeves’ camerawork capturing gracefully his limited mannerisms. He rarely talks, leaving his eyes under the cowl to do all the work, establishing his Batman as the most menacing (and brutal) so far, reaching the same elusive heights that Michael Keaton did. But, the film falls flat when Bruce Wayne appears on screen, resembling more of a moody teenager with a “The Cure” vibe than a 35 year old billionaire that barely gets any development on that front.

The villain department is a mixed bag with Paul Dano’s Riddler having an appropriately creepy screen presence in his well-executed introduction (despite going OTT towards the end) and an unrecognizable Colin Farrell is having a blast in his limited role as The Penguin. But John Turturo’s Carmine Falcone is a blunt and stereotypical portrayal of an Italian mafioso that goes nowhere and Zoe Kravitz’s Catwoman lacks the magnetic finesse that makes her comic counterpart so popular; her tiny frame makes it hard to believe that she can overpower henchmen twice her size.

However, “The Batman“ would not have been the same if it was not for Michael Giacchino’s score which does not rely on the unhummable electronic synths that Hans Zimmer and James Newton Howard used in Nolan’s trilogy. Giacchino dresses the film in a similar way that Danny Elfman did in the late 80’s/early 90’s by crafting memorable and distinct themes, with a swelling orchestra, haunting vocals and brass that resemble more the work of Rocksteady’s Arkham games which provide gravitas, atmosphere and heroism in equal doses. Schubert’s “Ave Maria” never felt so creepy!

Yet, some minor shortcomings do exist: everything bad is being done from … a particular group of people opposite diversity and one dimensional quotas (e.g., the new mayor) which might rub some people off, a solution to a disappearance involving a phone message is on the nose considering its circumstances and Batman parading around to help people in broad daylight as a medic looks as corny as it sounds.

Despite the lack of expensive set pieces, “The Batman” is a serious and effective take on the source material as a crime thriller that happens to feature the Caped Crusader. Oozing with atmosphere and lacking cheap thrills or distracting special effects, “The Batman” offers the second best Bat performance in the whole franchise and one of the best soundtracks of the last couple of years, setting up nicely future and independent installments without the sacrifice of plots or characters for expansive world building. See this immediately.

+Sharp characterization

+Solid crime thriller

+Effective atmosphere

+Restrained direction

+No distracting CGI set pieces

+Fantastic soundtrack

+Pattinson is great as Batman

-…but not good as Bruce Wayne

-Kravitz anemic

-Some PC touches

-A bit corny