It's a Warning - The Batman Review by Conrad Gardner

‘Fear is a tool,’ we are told in the opening narration of The Batman, ‘and when that light hits the sky, it’s not just a call, it’s a warning.’ Of course, Bruce Wayne/Batman is talking about the Bat-signal, the searchlight Gotham City policeman James Gordon uses to call Batman, but I like to view this dialogue in another way. Writer/director Matt Reeves (Cloverfield, War for the Planet of the Apes) is really telling us this - you can only have so many fun-filled, light-hearted, crowd-pleasing, family-friendly spectacles before something darker comes. That is Reeves’s warning to moviegoers worldwide, and the latest Batman film is the manifestation of this warning.

And darker it is. Much like The Dark Knight before it, The Batman adopts a gloomy atmosphere but pushes the envelope further. Gotham city, masterfully brought to the screen by cinematographer Greig Fraser and production designer James Chinlund – with support from Michael Giacchino’s oppressive score – has never seemed dirtier or more crime-ridden. It’s the first time viewers have seen the true extent of the city’s danger on-screen, and within the first ten minutes, we are shown a robbery, vandalism, mugging, and a murder.

Speaking of murder, The Batman is the first Batman film to hone in on the character’s role as a detective. For all the decades of Batman adaptations that have come before, this is the first time 'The World’s Greatest Detective' has been given the chance to prove that he is worthy of this moniker. The film’s series of murders is the perfect setup for the character to use his brains and not just his brawn, unlike several previous iterations.

The storyline – in minimal detail – follows Batman in the second year of his career, as a serial killer named The Riddler targets several members of Gotham’s political elite. Not so much your typical superhero affair, the film closer resembles serial kill flicks, such as David Fincher’s Zodiac, whose titular antagonist influenced Reeves’s Riddler.

Aside from the several crime scenes that Batman navigates during the film, complete with brain-teasing riddles, The Batman’s exploration of organised crime and corruption leans into the less fantastical feel of other contemporary comic book films, while the inclusion of Saw-style bomb collars and other taut sequences gives some horror flair.

And if the storyline and design of the film don't sound dark enough, the exploration of Bruce Wayne makes things dourer. This iteration of the character, portrayed by Robert Pattinson - who once again brings his immense talent to the screen - spends so much time as Batman that the few times we see him out of the costume he is pale, barely goes outside, and is awkward around everybody, including his faithful butler Alfred (Andy Serkis). Ironically, this is the most vampiric Pattinson has appeared since his breakout role - which I refuse to name here - but it works. Bruce rarely ventures outdoors, only doing so to continue his investigation. He has also not yet adopted the billionaire playboy persona that many Batman films have done before, which may anger viewers. However, I find the concept of Pattinson’s Bruce, who has been consumed by his quest for vengeance and justice, all the more tragic and unique. Bruce has to contend with some uncomfortable truths surrounding his family history, which may lead him to re-evaluate his mission as Batman, and why he is doing any of this.

But the film never forgets that Batman is not just a detective; he’s also a hero. While I won’t spoil it here, Bruce (and Batman) both start to realise that violence, fear, and vengeance are not enough if he is going to save Gotham. The film may be among the darkest versions of the character, but it does not make him any less heroic.

The supporting cast helps cement the film as a dark detective piece, with Jeffrey Wright bringing a fantastic rendition of James Gordon to life, a good cop who’s had enough of everything being thrown his way. There is also an unrecognisable Colin Farrell embracing the sliminess of mobster The Penguin, and Zoë Kravitz’s take on Selina Kyle/Catwoman leaves you wondering whose side she’s truly on. Paul Dano, once again, also proves himself to be a brilliant actor with his frightening take on The Riddler, despite his face being covered for the majority of the film’s runtime.

It may err on being too long for some viewers, and a few of the reveals might seem underwhelming, but as a showcase for Batman’s detective skills, the film hits the mark and then some. What will Reeves’s next Batman film have in store for viewers? That remains to be seen, but if he manages to explore Batman and Gotham in a similar way to what he has done here, it’s sure to be an interesting watch.

The Batman is in cinemas now.

Edited by Tia Jade Woolcock