Matt Reeves’ The Batman Review

The Expanse of Gotham City

Matt Reeves’ The Batman is a review more than anything else. The film plays a magnificent criminal thriller wearing a superhero film mask. In a long series of blockbusters Batman, the film is more somber than Christopher Nolan’s Dark Knight trilogy. However, wearing a director’s robe made the treatment even more challenging. Both iterations represent uncompromising revisions as well as the iconic DC Comics characters. In addition to the theme of driving the film, Reeves designs a methodical story in which genre and plot drive the film. Representing Gotham City on a nameless expanse a la David Fincher’s Se7en, the rain continues to shroud the grim murders.

Played hard by Robert Pattinson, the film is the first layer version of its byname that many films use. In addition, the masked investigator inhabits the elaborate superhero noir for the duration of the film’s three hours. It is impressive because of the unexpected twists and exciting mysteries that drive the film. However, the main difference is that the detective happens to be wearing a hood and a cloak. According to Reeves, the film ignores an unpleasant truth. No tremendous American detective film has clocked three hours. His decision to make an epic film took 176 minutes to complete the franchise’s reboot around the search for the serial killer. It aims to expose the filth in Gotham City in a rage.


Pattinson is a younger version of the character compared to many previous exploration films. He plays the hero who cleans the streets of Gotham City. In addition, Batman contemplates a vigilante like a disillusioned cop in film noir in periodical voiceover. By hiding in the crowd and waiting to attack, some people know him as Vengeance. He growled quickly, having instilled a fear of shadows in the city ravaging crime. Therefore, petty criminals always think twice before hiding in the dark. For Batman, he is his shadow when a violent gang with familiar face paint confronts him.

In addition, he emerges from the darkness, engaging the evil in brutal hand-to-hand combat. Many people will remember the crowd fights in the Batman: Arkham game series. The villains also feel affected by such a game. On the other hand, the Riddler appears in a homemade military green costume in the opening sequence. Brutally, he kills the film’s first victim. In addition, he also left a hint that prompted Lt. Gordon to ask the mysterious hero of Gotham. Partly also because the Riddler spoke to him to provide clues to Batman. The Riddler attaches a deadly tool to his visible victim in the following sequence. In such a first scene, the investigation and murder signify Matt Reeves’ The Batman as a radical change in style, review, and tone.

The Derivative of Now-familiar Material

The film’s derivative imagination fails to conjure up any vision for now-familiar material despite the combination of Reeves’ disarming skill and earnestness and his casting at its finest. In the comic book metropolis, everything falls apart once again; the center, despite not being able to survive, the film drowns the innocence. Everyone in the audience looked down at Gotham. Gotham plays the umpteenth arrival of a wondering and moody Batman or Bruce Wayne. However, Reeves reintroduces Batman supporting cast, such as, in addition to Gordon, the strong butler Alfred, and the slick anti-hero Kyle or Catwoman.

Reeves and Craig, his co-writer, filled the script with dramatic ammunition. It includes such as the secret life of mob boss Carmine Falcone. However, it exploded with the power of a cap gun. On the other hand, Reeves has not forgotten everything he is learned about making good films. He builds an audiovisual perspective that captivates and holds audiences over time. If it evaporates from memory within a minute of Gotham, he knows how to get the audience to peek through the binoculars. Through leaded windows, the camera subjectively chooses between layers of artificial light to spot the most ominous threats in the city’s shadows. Wayne chooses a group of young thugs to punish by his alter ego.

The Established Aesthetic of Comic Book Heroes

In short, Reeves has made a Hollywood career on revisions to established intellectual property. He once brought the venerable 2010 remake of the Swedish vampire film Let the Right One In among his best works. Along with the last two entries in the revised Planet of the Apes franchise, he is a day-to-day filmmaker, skilled, and able to adapt his aesthetics to serve the material with coherence and competence. Informed by two prominent aural themes from Nirvana’s Something in the Way and Schubert’s Ave Maria, Giacchino’s music underscores the pervasive grave temperament. Marked by Pattinson, it is an earnest film.

Apart from only having a few scenes as Bruce Wayne, Kurt Cobain’s guardianship frames Pattinson’s face behind his long hair that often falls. Typical scenes where Wayne clumsily thinks of himself as a stupid billionaire-playboy. In summary, Reeves avoids comic relief. He lays out every scene the plot moves into like any other puzzle piece. It makes for a deep-rooted three-hour mystery. In 1965, Jules Feiffer, in his study entitled The Great Comic Book Heroes, characterized the Golden Age comics he read in his youth as unrepentant “garbage.” He explains how “garbage,” like drunken people, can get away with doing or saying anything because, from its appearance, it is already embarrassing. Essence is the minor middle class of all mass media, but it is what people need.

The References

As well as being a tough character, Pattinson’s Bruce Wayne chronicles his inner thoughts in a handwritten journal like one of the distracted loners Paul Schrader from Taxi Driver. He has always watched Gotham City, disgusted but determined to prevent the city’s cannibalism. By being a detail that Reeves uses to acknowledge the fine line between crime and vigilantism, it creates parallels between Riddler and Batman. Both characters are orphans and seek revenge for justice. Both also keep an obsessive journal. However, a scene in Riddler’s apartment that layers notebooks are reminiscent of a fanatic scribble, back again, a la John Doe from Se7en in the Riddler case.

In the reference, the audience is on to other material when Gordon reads Riddler’s writing aloud. Reeves explores how the Riddler identifies with Batman in complex and morally compelling ways. While exploring the similarities between villains and heroes, the director’s witty screenplay also plays with the details of Wayne’s past. He sees himself as a vigilante, determined to rid Gotham of corrupt police and officials to uncover a secret that will destroy the entire city. The film’s most intense scene also finds the Riddler facing off against Batman at Arkham Asylum. The film relates to such similarities and leaves the audience questioning his overall motivation.

Behind the Scene

Pattinson will always look convincing in his functional mobile costume at the end of the day. By playing the seventh iteration of Batman on screen, he appears without a costume Together with Alfred at certain moments. Alfred, who always helps Batman solve Riddler puzzles and offers the role of a father figure, is underdeveloped. Matt Reeves’ broad yet deep review and plot overshadows most of the characters in The Batman. Kravitz also builds on the persona femme fatale or woman in black, containing fewer hot and cold cat-like moments than audiences might expect. She rarely looks like she will turn on Batman except for opposing him to pursue his ambitions.

While their dual motorbikes keep the moment warm, Batman, too, feels highly motivated and emotionally in control. One exception is the scene with Serkis. As Gotham’s district attorney, Peter Sarsgaard has an unforgettable turn in the supporting role. However, Farrell’s casting proved at its oddest, under makeup so convincing that anyone could guess why the other actors were not in the role. Still, he is excellent in such a role. Apart from the studio demanding Farrell lose his signature cigarette holder, Dano stood out the most. He is wholly detached as the Riddler, a workaholic that acts like an unholy union between the actor’s roles in There Will Be Blood and Prisoners. So far away, his unmasked opening scene reveals the face of a psychopath, at the twist, in a sinister but gruesome way below.

The Output

Just before the unexpected final act, Matt Reeves’ overall review proves scrupulous but admirable if The Batman can accuse audiences of being too lengthy. The feel is nearing the end when the story seems to be coming to an end. When its runtime feels like the film justifies, it is all over. The plot and cast have Reeves pointing in the same direction. By producing superhero films, not about catching supervillains, the film uncovers the history of corruption by taking a closer look at a study of representation.

In such a case, the characters seem dimensional and soulful when one compares the film to other Batman films, especially Nolan’s. It is a focal part of Hollywood filmmaking, providing a reprieve from the most conventional DCEU output. Reeves offers fewer moments that audiences love, especially Bruce Wayne and Batman. For a review, the emotional investment alongside The Dark Knight trilogy plunges every player and character into the cogs of the noirish and crime genre plot engines. Furthermore, it makes the film as strikingly impressive as a variation on the same idea. With the same formal execution, Reeves has created something different where everything is realized.


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