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The Darkest Knight

The Batman (2022)'s writer-director Matt Reeves has somehow done the impossible: respectfully borrow from David Fincher's ultra-gritty and ultra-dark take on the detective and noir genres from films like Se7en (1995) and Zodiac (2007), as well as Christopher Nolan's ultra-realistic usage of sociological themes from The Dark Knight trilogy (2005-2012), and apply them to a well-covered and often-adapted comic book hero like Batman, in a cinematically riveting manner with stellar performances, incredible visuals, and a taut yet emotionally raw experience. For the most part, this approach pays off in spades. Without further ado, here is my spoiler-filled review of The Batman.


The Batman follows a younger Bruce Wayne (played by Robert Pattinson), who has only been Batman for two years, as he takes on a sadistic serial killer who calls himself the Riddler (played by Paul Dano) while uncovering dark secrets about Gotham City, its powerful and elite citizens, and how his wealthy family factored and contributed to and enabled them over the years, and discovering his purpose as a hero for Gotham.


Pattinson's take on the Caped Crusader is one of the more memorable takes on the character. His vulnerable presence is made known through silence, where a single glance from him can speak volumes about what he is communicating. Also, the decision to go for and cast Pattinson as a younger and more inexperienced version of Bruce Wayne is an inspired one, for not only does he hold nothing back with his fighting style as Batman, but he is also the most investigative and introspective as he confronts both the cryptic riddles left behind for him and his privilege as a person who grew up wealthy and under the impression that his father, Thomas Wayne (played by Luke Roberts), was a morally upstanding individual, when in fact, he had some shady associations with mob boss Carmine Falcone (played by John Turturro), which eventually led to the murder of him and his wife, Martha Wayne (played by Stella Stocker).


The rest of the cast, including Zoë Kravitz as Selina Kyle, a.k.a. Catwoman, Jeffrey Wright as Lieutenant (later Commissioner) James Gordon, Andy Serkis as Alfred Pennyworth, Dano as Riddler, Turturro as Falcone, and Colin Farrell as Oswald Cobblepot, a.k.a. Penguin, is phenomenal. Kravitz's resourcefulness, quick wits, and emotional pathos make her both a compelling Selina Kyle and Catwoman and a perfect contrast to Bruce Wayne's reclusive, vengeance-driven, and emotionally unstable vigilante. Wright's interpretation of Lieutenant Gordon as the lone policeman loyally supporting Batman as his partner in the investigative aspects is excellent and the investigative partner dynamic between him and Batman shares a lot in common with Gary Oldman's take on the character from The Dark Knight trilogy, which I admire. Serkis' fiercely protective mentor figure type amidst a somewhat strained relationship between him and Bruce is also a highlight. Said relationship illustrates both Bruce's need for a father figure and wisdom and Alfred's care for him while upholding his duties as the caretaker in the Wayne family estate.


The Batman's numerous villains also deliver (or steal the show). Dano brings a frightening level of intellect and a muted yet twisted sense of humor to this incarnation of the Riddler, which shares several character traits with both the Zodiac Killer (regarding the cryptic riddles left for the police) and John Doe from Se7en (regarding the gruesome murders and torture sequences), that is the most threatening live-action Batman villain I have seen since the late Heath Ledger's take on the Joker from The Dark Knight (2008). Turturro's low-key menace and overall presence over the city and ties to the Waynes are palpable despite not having a lot of screentime. Farrell is virtually unrecognizable as the Penguin, with his physical transformation (major props to the makeup department) involving a manifestation of a voice and demeanor that resembles that of a character that a young Robert De Niro would have played in his prime.


On the technical side, the action scenes are brutal and white-knuckled in intensity and are very well-shot (as is the entire film), thanks to cinematographer Greig Fraser. Fraser's use of shadows, dim lighting, and use of unconventional light sources are ingenious. One action sequence, in particular, is a car chase between Batman and the Penguin that is set on a rainy night on a crowded freeway. The lighting, which relies on car headlights and explosions going off, is on point, with plenty of long takes focusing on the main players and action without resorting to rapid-fire cuts and disorienting editing. In another scene where Batman fights some henchmen in a dark hallway, the primary lighting source is the strobing light from the gunfire going off, which is riveting from both a technical and visual standpoint. On the flipside, said sequence may trigger seizures for those who have photosensitive epilepsy, so please be advised when watching this movie. There are also plenty of hand-to-hand combat sequences which are so brutally intense that the audience may find themselves looking away, which adds to the in-your-face experience.


Musically, Michael Giacchino's score and theme for this movie are standouts that earn the same level of memorability as the themes from Danny Elfman, James Newton Howard, and Hans Zimmer before him. Giacchino perfectly captures the brooding rage and menace of Bruce Wayne/Batman toward his enemies and the grim atmosphere of the city around him that compliments the visuals that have been brought wonderfully to life. The production design is splendid for the overall aesthetic resembles a hybrid of the styles of Tim Burton's gothic tone and Christopher Nolan's ultra-realistic contemporary settings.


As for flaws, I cannot critique the filmmaking skills on display, as they are all on point in this movie. Instead, my points of contention are minor ones regarding the level of darkness specific viewers will be able to stomach from this movie. This ultra-dark and, at times, psychological horror-driven version of Batman may turn off some as too violent, disturbing, and bleak. There were a few instances where I found myself wincing at the disturbing nature of the villains and their cruel and demented actions and motives. However, this was part of this film's cinematic experience, so I was okay with this, given the context.


I was riveted by this version of the Caped Crusader because the story centers around a younger Bruce Wayne finding his purpose as an inspiration of hope for Gotham City after eventually realizing his rage-fueled quest for vengeance inspires anarchic terrorism across the city, as exemplified by the Riddler. Simultaneously, he realizes the potential for sociological change in people, as illustrated by Bella Reál (played by Jayme Lawson), a grassroots mayoral candidate for Gotham City who promises her constituents an era of change and hope.


While The Batman may be too much for some, this is cinematically the darkest and most mature outing I have seen that delivers significantly (it's even darker than The Dark Knight trilogy). Given Warner Bros.' plans for this movie going forward with a sequel and spin-off series featuring the Penguin, I am genuinely happy for everyone involved for their efforts appear to have paid off. I recommend this movie for its cinematic qualities and technical merits, but viewer discretion is advised.


Final Score: 8 out of 10

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