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In the darkest screen adaptation to date, The Batman, by Matt Reeves, features the debut of star Robert Pattinson in the lead role in a plot that mixes horror with noir suspense. The film also addresses a very current topic: the difference between justice and revenge.
Matt Reeves managed to surpass his colleague Christopher Nolan: his vision of Batman is even darker than that of the director of 2008's The Dark Knight. Batman is much more than a superhero movie – it's a horror production shot in a noir style. Over the course of three hours, the hunt for the serial killer Riddler takes place in Gotham City where it's always night and the rain doesn't let up. There is no room for smiles or fun there – only criminality and decadence.
It is in this deplorable environment that Commissioner Gordon (Jeffrey Wright) is constantly forced to project the symbol of the bat in the sky: it is the signal for Batman to leave the darkness and help him in the fight against marginality. As has happened more and more in hero movies, the story is focused on adult audiences and the theme is less Manichean. There is an interesting subliminal discussion about the difference between justice and revenge, an argument that can easily be transposed to the real world. Quite original, Reeves' script casts doubt on the honesty of Thomas Wayne, Bruce Wayne's father, Batman's secret identity. This world of secrets and deception is ideal for the bat-man's crises of conscience - he seems to suffer just as much as the bad guys.
Another component that complements the film's oppressive tone is the soundtrack by Michael Giacchino. Coincidence or not, the It's Raining Vengeance theme is similar to Darth Vader's Imperial March from the Star Wars saga. With the flowing cape and stark black suit, Batman's comparison with the Star Wars villain is inevitable.
Responsible for the film's most agonizing scenes, the troubled Riddler is not the only figure that Matt Reeves rescued from the DC Comics universe, the publisher that began publishing Batman, created by Bob Kane and Bill Finger in 1939. There is also the presence of the Penguin. (an unrecognizable Colin Farrell) and Catwoman (Zöe Kravitz), as well as gangster Carmine Falcone (John Torturro). The truth is, fans already predicted that Reeves' aesthetic choice would lead him to an extremely dark and violent Batman. At least two of his previous productions gave these clues: Planet of the Apes: The Confrontation and Cloverfield are action films, but with hints of horror. In addition to monkeys and monsters, now Matt Reeves has added a bat to his gallery of creepy types.
The "Batman" star tried to audition for Christopher Nolan's "The Dark Knight Rises" already ten years ago. At the time, she was considered "too urban."
DC's latest superhero role "The Batman" is a huge cinematic success, and it's not just Robert Pattinson's reinterpretation of Gotham's savior that is being hailed. Zoë Kravitz also gets her fair share of praise in the role of Selina Kyle, aka the acrobatic thief Catwoman.
In new interviews, it has emerged that Kravitz has had his eyes on the role for a long time. She already wanted to audition for Christopher Nolan's "The Dark Knight Rises" - but thinks her skin color got in the way. She tells The Guardian that she was considered "urban".
- I do not know if it came directly from Chris Nolan. Maybe it was a casting director or someone's assistant. But as a colored woman and actress, being nobbed from an audition because of my skin color and hearing the word "urban" tossed around like that, it felt really hard at the time, she says.
In a post on Instagram Stories, Kravitz clarifies that the role she was looking for was not Catwoman. "I wanted to audition for a minor role but was told that they were not looking for 'urban' types. I'm not saying that to point out someone as a racist, I do not think anyone meant badly."
Kravitz, who we previously saw in "Mad Max: Fury Road", the "Fantastic Monsters" movies and the TV series "Big Little Lies", is currently on his way to becoming one of Hollywood's greats thanks to "The Batman". You can also see her in HBO Max's original film "Kimi", and soon she will make her directorial debut with "Pussy Island".
Warner Bros.'s grim remake of "Batman" topped the US and Canadian box office, becoming the first film of the year to reach $100 million in its opening weekend, according to analysts at sector.
The latest film in the growing collection of "Batman" versions - starring English actor Robert Pattinson - took in nearly $128.5 million between Friday and Sunday, according to data from Exhibitor Relations.
The film had an estimated production cost of $200 million.
Sony's "Spider-Man: No Homecoming" was the only film during the pandemic to surpass $100 million at the box office in its opening weekend, racking up $260 million in its December release month, according to analysts.
The current version of "Batman" has the Batman trailing the villain 'The Riddler' (Paul Dano), while the hero fights crime, corruption and his own demons. The cast includes Zoe Kravitz, John Turturro, Peter Sarsgaard, Andy Serkis and Colin Farrell.
Sony's adventure movie "Uncharted," starring Tom Holland in the Indiana Jones style of treasure hunter, dropped to second place with $11 million while grossing over $100 million since its release.
Metro Goldwyn Mayer's comedy "Dog" took third place with $6 million.
After multiple delays due to the pandemic, The Batman, the new Gotham dark knight movie starring Robert Pattinson, has finally hit theaters. It portrays a new vision of the superhero under a police thriller approach, a film with a dark, intense and realistic tone that, through a detective investigation structure, introduces us to a plot of power corruption, influence peddling and crime with Enigma as the great villain of the show.
I think it is something never seen in the adaptations of the character to the big screen, being more of a thriller in the line of films like David Fincher's Seven or Zodiac than a superhero movie to use. Hence, I think it is one of the best and most interesting versions of Batman that we have had the opportunity to see. In addition, his flirtation with other genres such as horror, the great atmospheric work behind the direction of Matt Reeves, the gloomy photography of Greig Fraser, the intense melodies of Michael Giacchino or the power that Pattinson radiates behind his Bruce Wayne, the They are close to perfection.
But no. It's not perfect. The Batman makes a major mistake that responds to a whim that Hollywood has clung to in recent years and to which I see less and less sense: its duration of 176 minutes.
There are almost three hours of footage available in this new Batman movie, which breaks the record for being the longest film adaptation of the solo character after surpassing the 164 minutes of The Dark Horse: The Legend Rises. It could be justifiable in the event that the story had a lot to tell, many edges to stop at or action sequences that deserve to be lengthened to increase the degree of spectacularity. But is not the case.
The story proposed by The Batman is simple. It is a detective story of crime and corruption where the bat man tries to stop Enigma and the macabre games of him, who in his attempt to take justice on his own account is creating chaos in Gotham City. It is an argument that could perfectly have been told in an hour and a half, and stretched out to almost three hours, presents considerable rhythm problems that at times translate into boredom and saturation.
I have to admit that, although in general terms I loved The Batman, the first section of it was uphill for me. Its slow pace, the time it takes to put us in context and introduce the characters, and the intensity of its atmosphere, made it very difficult for me to digest in its first half hour. I felt that the scenes were taking place in slow motion, that the film needed a lot more pizzazz, and that it was far from being the superhero show I was looking to see.
Fortunately, once the plot is introduced, the film comes into its own and all these problems disappear. It was then that I felt captivated by this new approach to the character, by its police thriller tone, by how great and insane Paul Dano's Enigma is, by the spectacular nature of its action sequences or by its fantastic fusion of a Gotham City realistic with the universe of comics.
But the feeling that I was watching an unnecessarily long movie returned in the second half of the footage, when from the middle stretch to the final climax I felt that little or nothing was happening on screen and that Warners should have seriously considered putting the scissors. However, it seems that nowadays every big budget blockbuster must respond to this elongated structure, even if it goes against what the film requires.
It is Hollywood's way of selling the viewer that they are going to see a great event, that the ticket price is going to be justified by these long hours of footage. A whim that seeks to boost the box office despite the fact that the productions may be harmed because the excess footage does not adapt to its structure. And I've been having this feeling for quite some time. Even with movies that I love and don't mind spending extra hours watching footage.
For example, last 2021 I left the cinema delighted and excited after seeing No time to die, the latest James Bond adventure. But thinking about it cold, the film has plenty of duration everywhere in its 163 minutes of footage. Without going too far, its prologue was excessive, almost half an hour of introduction with unnecessarily long dialogues and an action sequence that, as spectacular as it was, could have been told in much less time. And it could even have been much more intense and dynamic. I can understand these exaggerated lengths in movies like Marvel's Eternals, whose large number of characters, plot and context even required more than its 156 minutes to be properly explained, but not in the case of stories like The Batman.
There have always been films of extreme duration, and you only have to look at classic Hollywood where this effort to create a cinematographic event was even greater and the productions usually exceeded four hours. But you have to know when it is necessary and when not. And I think that, given what happens in The Batman, the industry should stop to criticize itself and assess whether it is really worth using these elongated structures as a commercial claim when they seriously hinder the films. And honestly, it made me quite angry that the great experience that The Batman is supposed to be affected by this, because it could perfectly have been a movie of 10.
According to Matt Reeves, 'The Batman' started out longer than the final cut of three hours.
The director has brought the bat superhero to the big screen for the umpteenth time. At two hours and 55 minutes, the flick is the longest 'Batman' film ever produced. But according to Reeves, the almost three hours were almost too short for him. The 55-year-old filmmaker told The New York Times: "FYI, it used to be longer. When you see the film, the length is no longer an issue. He pulls you in, he takes you, and you stay interested.”
The Hollywood star would not be averse to a sequel to the film. Do lead actor Robert Pattinson and 'Catwoman' actress Zoe Kravitz see it the same way? After all, Reeves also wants to sleep over the night for the first time. "Where the story is going, of course I've thought about it," Matt tells the newspaper, "But like I said, I need a nap first." He can treat himself to that after producing this mega-blockbuster.
