Robert Pattinson’s performance, Greig Fraser’s cinematography, Michael Giacchino’s music and a notable repertoire of characters make up a nostalgic urban noir and an effective police thriller.
2022 was a year of ups and downs, experiments, tribulations, and losses, but also wins, for superhero movies. Marvel released three high-profile big-screen sequels (Doctor Strange in the multiverse of madness, Thor: Love and Thunder Y Black Panther: Wakanda Forever); DC finally introduced Black Adam; while Sony tried to enter the conversation with Morbius.
Many of these releases were highly anticipated, especially considering that some faced multiple delays due to the COVID-19 pandemic. One of these projects was batmanwhose filming presented pauses and restarts due to the contagion of the production team and part of the cast, including the superstar and protagonist of the film, Robert Pattinson.
These adversities did not prevent the filmmaker Matt Reeves will deliver a magnificent police thrillerreminiscent of se7en Y Zodiacboth directed by David Fincher, who eventually managed to turn the knight of the night into a real detective instead of simply showing a billionaire Bruce Wayne throwing away his money to get over his traumatic past like Christian Bale does in some sequences of Batman starts.
between the energy of Good Time: Living on the edge and the enigmatic containment of cosmopolis, Pattinson’s nuanced and balanced performance delivered a younger and genuinely more conflicted Wayne to the family drama. He feels not only in the harsh voice, but also in the subtle expressiveness of his eyes and above all in his constant wandering at night and solitary.
Being the darkest and noir adaptation of the Batman, the cinematographer Greig Fraser (foxcatcher Y Dune) took care of making sure the photography wasn’t relentlessly black, placing small spotlights in each frame for a gray, nostalgic urban noir.
While the wonderfully haunting music by composer Michael Giacchino (who earlier this year conducted Gael García Bernal in werewolf at night for Marvel) creates a state of unease, perfectly capturing the pain and trauma accumulated in the protagonist.
Best of all, the film cleverly leans into the large gallery of characters to insert villains and antagonists that function as obstacles, counterpoints, and mirrors in the hero’s journey. Zoë Kravitz, Colin Farrell, and Paul Dano breathe new life into Catwoman, Penguin, and Riddler, respectively.
Although the third act is prolonged and clashes with the general tone of the film, The final moment where Batman steps into the light and leaves behind his need to be a dark creature of the night works as a powerful character arc. and it leaves a door open to an exciting world of possibilities, in which we could perhaps see Barry Keoghan’s Joker again, for sequels and miniseries on HBO Max.