Since Joker and Joaquin Phoenix's remarkable performance, it seems that DC has taken a different path than Marvel's great show, reproduced in each film according to a formula that limits the mimicry of an ever more narrower specification. Resolutely more sensitive and original, both in terms of realization and writing, The Batman clearly fits into this vein. Behind the superheroes are mostly men. He's the director. Matt Reeves who now takes the reindeer of the black knight's franchise. Sombrement entitled The Batman, this almost three-hour feature film blows hot and cold but has the merit of beautifully drawing Gotham's bottoms.
Wayne's World
Returning to Batman's sources, camped here by a Robert Pattinson twilight is Batman's vampiric figure, which is the most prominent. The blundered complexion, the angular face and the hair in battle, young Bruce Wayne lives in the pain of eternal mourning: that of his parents shot by the mafia in a dark alley like Gotham is full of it. In light years of the billionaire's insurance and bragging over its quarantine in the previous stages, it is a much less assertive and seductive Batman who dominates here. Almost Gothic with his slow gait and leather boots, Robert Pattinson looks depressive and the very rare jokes he tries with Catwoman are ovens. Nirvana's air recaptured twice in the film recalls a little cliché and adulescent side of the young Bruce.
« Fear is a tool. When that light hits the sky, it It's a warning. For them »
Batman is still looking for his style here and the liveliness of Nolan's fighting scenes, Matt Reeves prefers slowness. Batman takes shots and is not yet the outstanding fighter who dances between the uppercuts. Almost suicidal, the young Bruce admits that he does not fear death. Proof of this, his armor will be subjected to numerous bursts of machine guns. While Batman's costume is certainly intended to resist firearms to some extent, Matt Reeves has probably abused fireworks, which has been shown throughout the film. Seeing Batman taking the shots at point-blank pumps ends up being counterproductive. This choice is regrettable because Batman – mortal like the others – is not either bulletproof in comics. It is this vulnerability that has always distinguished him from his rival Superman.
Robert Pattinson's performance holds the road and contrasts with the last incarnations of the vigilante. At the auction of the raucous voice of Christian Bale, the actor chose to only slightly amplify the tone of his voice. However, it would have been opportune to do a work on the hero's muscles. Without necessarily looking for a bodybuilder model like the 1980s, there was probably a balance to be found between a Robert Pattinson svelte and an affouted wrestler.
Vengeance
To tell the truth, the scenes of fighting remain episodic and rather rare finally. The most beautiful ones are those shot in the darkness, where the gunshots illuminating these strobe scenes by saccade. The Batman is above all a thriller with polar air that would not deny Fincher at the origin of the sensational Se7en to the same cruelty. We find a Gotham gnawed by the crime down to these last nooks. The rascals, the dirty prosecutors and all the gratin of the city do business in the penguin's hidden box. While Batman is directly worried about a serial murder case, Matt Reeves is taking us to Gotham's depths. It is certainly the film's greatest success. When Selina infiltrates the nightclub, we'd think we'd see a scene of James Bond, the darkness in addition. Finally, it's also a two-headed investigation with a large space left to Lieutenant Gordon, the only honest cop who will support Batman throughout the film.
The director gives us the most sinister representation of Gotham. Each plan is peaty. Most of the film will be dark and a scene at the Wayne mansion where Bruce, white as a linen, folds his eyes in front of a light ray of light reminds us how the bat is a night hunter. The Batman is a successful investigation that draws directly from the excellent comics Long Halloween. Crime scenes are an opportunity to remind that Batman is first and foremost a detective. Each of them assumes a black polar side that has never before been seen in cinema. It is also Miller's Batman that we find with references to Year One.
Here comes the Wayne again
The underworld and internal struggles between the Falcones, Maroni and rising figures of great banditry refer directly to Al Capone and Chicago of the 1930s. Both photography and realization are particularly inspired. It rains strings throughout the film and Matt Reeves does not hesitate to tighten the framing and to chain striking montages, especially in Batmobile. We alternate between subjective view and camera up to the wheels of the car. The beating rain is transcribed by blur effects that generate a claustrophobic atmosphere.
Matt Reeves also tries some inclusive breakthroughs with hints about Catwoman bisexuality or a lieutenant Gordon played by the excellent Jeffrey Wright. A choice that makes it possible to avoid that the only Blacks of Gotham are those who bring donuts to the coffee break because it is true that Batman comics only have very few color characters at the casting. In addition, Matt Reeves has chosen our contemporary era with its social connections and their crossovers. A choice widely highlighted by film plot and communication facecam of the Riddler.
Question for a champion
Some plans would almost look like paintings. We let ourselves be led by this sensitive and inspired realization throughout the film. However, The Batman pull the rope and would probably have gained rhythm by deleting half an hour. Batman's relationship with Catwoman (Zoë Kravitz) also appears to have been somewhat carbbled and gained further depth. It is also said that a good Batman depends on his villain. The Batman does not fail and Riddler fly, especially during an asyl monologue glaze and a transcription of the most faithful of comics. Each of his interventions is the occasion of a riddle in the pure tradition of the comic character.
Paul Dano plays with finesse this obsessive character with disturbing smile. Collin Farell is also unrecognizable and delivers the best interpretation of the Penguin to date. The actor will be entitled to a spin-off Like the future Commissioner Gordon and Arkham's asylum. In watermark, we find some themes of Joker (read our Ultra HD Blu Ray test) as the power of the rich and social misery. Selina worries about this directly the rich whites during an address in Batman. Same for Riddler which refers Bruce's pain to his privileged social affiliation carried by his fortune. If these characters are remarkably well interpreted, no one will erase Batman's character. Matt Reeves seems to have found a different range than the last two Nolans.
The Riddler is asking for you
By adopting a more realistic approach to the character, DC chose a successful line that gives breath in the landscape a little too smooth of superheroes. One blockbuster intelligent and we hope an opening to other dark arches of the hero like the Court of Hiboux. Matt Reeves savourily distils the references to comics, whether it is the Wayne orphanage or even some indications for the next stage. There's a lot to bet that the next Robin is the young orphan from the beginning of the film. Will Matt Reeves dare to go to the field?mourning in the family - Aparo and Starlin?
The Batman is not just a new iteration of the black knight's quest for revenge. He questions the hero's place in society, his connection with the police and the population. A hero exists only if he enjoys the support and admiration of the people. It's the whole symbol of the scene where Batman brandishes a smoker and where the camera, from the sky, shows the crowd following Batman. The relationship to the image, symbol and representation involved in Batman's costume is the driving thread. It is the incarnation of a personal and solitary Justice that must meet its audience.
« It can be cruel, poetic or blind. But when it »
« And why don't you go and track down the hedgefonds' poverty-makers? » Can we get Catwoman to the vigilante? The silence of the vigilante is an answer in itself. He follows a scene where the two characters each take their motorcycle, then separate with a magnificent plan in the mirror of the black knight, as if this relationship was the sign of an ephemer ending from the impossible. It's also an original way to recall that Batman has been more officiating against malevolent than against white collar criminals. A final dialogue that questions the fate of our societies and a two-speed justice that irreparably leads to Gotham's criminal gear.
[...] In this anti-spectacular blockbuster that gives back « colours » to the (very) black Knight, the Avenger Bat and the neurotic Wayne venture on the side of the peaty thriller with strong fincherian consonance. (read our review here). [...]
[...] director of photography and true artist to whom much is owed to the plastic of The Batman, The Creator or Rogue One, i.e. the most authorizing blockbusters of the latter [...]
[...] Visually very beautiful, even though some large plans betray a slight lack of definition (which sometimes gives the impression of seeing actors evolve in front of green funds, even though they are not themselves real). A detail for the purists of VFX, because in general it is very impressive, especially close-ups and facial expressions, like the eyes of confusing creatures of realism. The realization of Wes Ball is rather effective during the action phases but has nothing transcendent on the more intimate moments. At this level, it is inferior to the two previous stages, led by the brilliant Matt Reeves, who has since confirmed his talent with The Batman. [...]