Hollywood’s ever-present superhero genre has historically attracted people. Stunts performer and omnipresent computer graphics generate an endless fount of adrenaline.
In The Batman, the hero is in his early years, already very capable but still raw in many respects. He then appears as a man still deeply scarred by the trauma he suffered as a child and still struggling to process. A mask of apathy conceals an intense rage simmering within him that he is able to vent only through his crusade against Gotham’s criminals, to whom he reserves a brutality barely kept in check. Robert Pattinson, then, is very good and credible when he wears the pointy-eared costume. Slightly more anonymous, however, appears his performance when he has to impersonate Bruce Wayne.
The Batman leans heavily on his partner in (fighting) crime, Detective Gordon —the one cop in Gotham able and willing to look past the batsuit. Gordon’s contributions to the central case of the film underscore the error in Bruce’s belief that he’s better off working alone.
The film is fantastic in the technical compartment. Aside from the sumptuous cinematography already mentioned, Matt Reeves’ directorial talent is most evident through a distinct expertise in image composition, and it is not uncommon to be confronted with shots or entire sequences of incredible visual power (the inverted subjective of the Penguin seen in the trailers is just one of many examples). The action scenes, especially the hand-to-hand fights, are wonderful.
Point of credit also goes to the soundtrack by Michael Giacchino. Particularly striking is the solemn and memorable main theme and also appreciable is the effective use of the pop song Something in the Way by Nirvana.