*This piece is part of our Critics In Conversation series, where two writers offer different perspectives on the same film. Read Lucia Ruan’s review here, and Wesley Stenzel’s review here.*
The Batman sets itself apart from previous iterations and more than warrants its existence by breathing new life into the notorious city of Gotham and its fabled characters through masterful worldbuilding.
Despite a lengthy, nearly three-hour runtime and a somewhat underwhelming plot, writer-director Matt Reeves–in tandem with co-writer Peter Craig and Oscar-winning cinematographer Greig Fraser–was able to craft the world of Gotham City in a way that truly redefines its presence on screen. Reeves’ definitive vision and purposeful decision making is evident through a noticeably darker tone, grounded character designs, and staggering photography.
He wisely opts to forego the famous Caped Crusader’s origin story, instead starting the film two years into Batman’s reign as Gotham’s most notable vigilante. Reeves’ story is part noir thriller and part action blockbuster revolving around Batman’s long-time title as the World’s Greatest Detective.
Bruce Wayne (Robert Pattinson), an orphaned billionaire by day and a cowl-wearing crime fighter by night, teams up with Gotham’s finest in Lt. James Gordon (Jeffrey Wright) to investigate a series of mysterious and grisly murders. The culprit in question is none other than the Riddler (Paul Dano), a demented genius, brutal serial killer, and fan-favorite from Batman’s iconic rogues gallery.
Reeves and company waste no time establishing the overtly insidious atmosphere that permeates The Batman. Within the first ten minutes it’s abundantly clear to the audience that this Gotham City is littered with crime and is seemingly more dangerous than its on-screen predecessors. The gripping opening sequence shows felons as they deface a city bank, rob a corner store, and assault civilians throughout the ominous streets of Gotham. The camera lingers dreadfully on the dark, abandoned crevices of each location as Pattinson delivers a husky monologue that describes the unforgiving city and Batman’s role in it.
“Fear is a tool. They think I’m hiding in the shadows. But I am the shadows.”
The nightmarish horns and chiming bells of composer Michael Giacchino’s haunting theme linger in the background, adding yet another layer of fear and despair to the opening moments.
When directly juxtaposed to the equally thrilling, yet vastly different initial sequence of Christopher Nolan’s The Dark Knight–the strongest Batman adaptation to date–it’s obvious that Reeves’ interpretation wants to tread new ground.
Although both sequences establish an unforgettable and immediate sense of intensity, the beginning of The Dark Knight takes place during broad daylight, highlights an individual villain, and focuses on one specific crime, whereas the opening of The Batman takes place at night and chooses instead to show the sprawling scope of Gotham City’s criminal underbelly.
Along his journey to catch the Riddler, Batman navigates through numerous comic book accurate locations (the Batcave, the Iceberg Lounge, Arkham Asylum) and encounters several storied characters along the way (Catwoman, the Penguin, Carmine Falcone.)–albeit each with their own unique twist from Reeves.
Whilst still retaining the essence of the beloved source material, many of the film’s characters received refreshing reinventions–both aesthetically and thematically–in accordance with this Gotham’s darker, grimier environment.
Reeves utilized a pair of real-life figures in Kurt Cobain and the Zodiac Killer as an unorthodox inspiration for both the demeanor and appearance of Bruce Wayne and the Riddler, respectively. Pattinson’s stoic facial expressions and moody disposition and Dano’s labored breathing and unsettling vocal inflections are clearly results of the aforementioned influences.
The two main adversaries aren’t the only ones to benefit from Reeves’s creative overhaul, many of the side characters are just as compelling both in creativity and performance.
Zoë Kravitz’s Selina Kyle–also known as Catwoman–is alluring and Colin Farrell’s Oz–also known as the Penguin – is conniving, much like their comic book counterparts. That being said, Kravitz’s shapeshifting wardrobe and Farrell’s physically imposing stature are distinct enough to remain engaging.
The casting decisions and subsequent performances are stellar across the board, each actor simultaneously fitting their respective roles with ease and adding complexities that are unique to the film. This makes it easier for the viewer to seamlessly buy into Reeves’ experimental renditions of these well-known characters.
The Batman is at its strongest when it shows off Fraser’s stunning cinematography. The majority of the events take place at night and in turn the film’s dark tone is reflected through the shadowy, naturalistic lighting. It creates shots of both the heroes and villains that are menacing and intimidating, effectively indicating the increasingly grave nature of Gotham City.
Fraser uses the darkness to his advantage by finding creative ways to infuse bright colors into the mix, crafting breathtaking moments of stark visual contrast. He takes a page out of the legendary cinematographer Roger Deakins’ book with a color palette that is at times reminiscent of Blade Runner 2049. His shots range from the harsh red sparks of an emergency flare and the fiery orange of lethal explosions to the pale yellows of the sunset that stretches across Gotham’s skyline.
Reeves’ decision to tap Fraser as his running mate for The Batman was no coincidence. Fraser has earned a significant reputation–with projects like The Mandalorian, Rogue One, and Dune–in terms of his ability to help create worlds that actually function as characters in and of themselves. As a result, the world of Gotham City is the film’s most memorable takeaway.
Although a sequel hasn’t been confirmed (yet) this isn’t the last we’ll see of Reeves’ portrayal of Batman and Gotham. A pair of limited series spinoffs within The Batman universe have already been announced–one on the way that focuses on Farrell’s Oz and one on deck that will reportedly focus on the inmates at Arkham Asylum. In addition to that, Dano is writing a six-issue comic book series that will act as a prequel to the events in the film and add context to the Riddler’s backstory.
Reeves’ desire to immediately expand the world he created in The Batman following its release depicts Gotham City as a dynamic character rather than just simply a forgettable backdrop. The world shapes all aspects of the film, the story, and its characters, excellently setting the stage for further exploration of its criminal underworld and the Dark Knight who patrols it.