Spoiler Warning: There are spoilers ahead for The Batman.
When The Batman was announced a couple of years ago, I was distinctly underwhelmed. After more than fifteen years of samey presentations of the titular caped crusader going back to 2005’s Batman Begins, I felt uninterested in another “dark and gritty” take on a character whose darkness and grittiness had been done to death.
In addition, as I’ve said on a number of occasions here on the website, I’m not the world’s biggest fan of comic books or their cinematic adaptations. Some are decent enough, but usually the highest praise I can muster for anything in the superhero genre is to call it moderately entertaining; the kind of mindless popcorn action flick that can inoffensively kill a couple of hours.
That was the mindset I had as I sat down to watch The Batman. Was I about to be blown away and have my mind changed on both of those subjects, convincing me that the world can’t ever have enough dark and gritty Batman movies, and that there’s more to the world of comics than mindless entertainment?
Well, no. But at the same time, I didn’t hate or even really dislike The Batman. It did what its creators wanted it to do, and while I have a few gripes with a story that felt somewhat bloated and muddled in places, as well as a few visual effects that were wide of the mark, overall it was engaging enough to keep my attention. From the point of view of someone who isn’t any kind of Batman or DC Comics superfan, The Batman was good enough. It won’t be my pick for “film of the year,” but it’s unlikely to end up as the worst movie I’ll see in 2022 either.
One point in The Batman’s favour is that it exists in a standalone space and isn’t trying to connect itself to the wider DC Comics “extended universe” – DC’s failed attempt to match the Marvel Cinematic Universe. This allows it to do its own thing without feeling obligated to tie into a dozen or more other titles, and without feeling confusing or offputting for newbies and casual audiences in the way that Marvel films and projects are starting to.
Having seen other Batman films and productions over the years, I felt familiar enough with its world that some of the characters’ names were familiar – Carmine Falcone, Salvatore Maroni, Selina Kyle, etc. – but also I felt that that familiarity wasn’t necessary for anything that The Batman wanted to do. These characters, though they may have familiar names, are new and distinct versions, and their histories, personalities, and connections to one another were suitably explained by The Batman itself. No in-depth knowledge required!
From the first moments of the film, The Batman captured the look and feel of Gotham City. From the 19th Century opulent gothic-style architecture to the urban decay inspired by the likes of Chicago, Detroit, and older depictions of New York, I genuinely felt that the version of Gotham City brought to screen in The Batman was real and lived-in; a well-constructed backdrop for the events of the film to unfold in front of.
There was some clever cinematography in The Batman, with well-composed camera shots that felt immersive and highlighted something that would go on to be important later. The film also used light and shadow to great effect, hiding the titular Batman in darkened areas and illuminating scenes in very evocative ways.
Focus was also part of The Batman’s cinematography, with rain-smeared windows partially obscuring characters and events. The clever camera work would show just enough to build up the tension, as characters could be seen just outside of the camera’s focal area. The sense of movement from these slightly blurry, out-of-focus areas conveyed a sense of mystery that tied in with the theme of a film where the Riddler was one of the key antagonists.
It wasn’t all perfect from a visual standpoint, though. There were moments where the use of green-screens was incredibly obvious, such as a sequence which saw Batman using a wing-suit to escape a tricky situation, when he was dangling from a precarious platform, and later at the end of the film when he was riding a motorcyle. What’s interesting is that this is also something I noted last year in my reviews of two other DC projects: The Suicide Squad and Zack Snyder’s Justice League. This recurring green-screen situation is clearly an ongoing problem that Warner Bros. and DC Films need to work on going forward. These moments looked out-of-place and outdated in The Batman, as if the green-screen sequences had been created twenty years ago without the benefits of modern-day techniques and technologies.
There were some neat musical choices on The Batman’s soundtrack. The score for the film was well-produced, evoking the right feelings at the right moments. Occasionally this could feel a little heavy-handed, as if the music was trying to force a certain emotion onto a sequence rather than letting me experience it for myself, but generally speaking it worked as intended.
I also enjoyed the use of the Nirvana song Something In The Way, which came at the beginning and end of the film, kind of bookending the main events. Apparently director Matt Reeves based parts of the film’s presentation of Bruce Wayne on Nirvana singer Kurt Cobain, who was known for being a recluse.
Much had been made of the casting choice of Robert Pattinson – a British actor best known for his roles in the Twilight and Harry Potter franchises – in The Batman’s leading role. I felt that Pattinson did a decent job and was convincing as this version of Bruce Wayne; his American accent was fantastic, too.
Zoë Kravitz reprised the role of Selina Kyle/Catwoman from The Lego Batman Movie, though her role in that film was smaller than it was in The Batman. Kravitz likewise did well with this new version of the classic Batman character, and I found her to be convincing in all of her scenes. Indeed the whole cast put in great performances, and I can’t really single out anyone for criticism in that regard.
If films like The Dark Knight and TV shows like Gotham had never been made, perhaps The Batman would feel like the new yardstick against which other adaptations could be measured. But because it comes on the back of other adaptations of the same source material that exist in an incredibly similar thematic and visual space, it doesn’t feel groundbreaking or original in the way it might. It feels if not downright repetitive then just a riff on the same idea, and with a story that wasn’t groundbreaking either, I guess I just wasn’t bowled over by anything that The Batman did.
The Batman’s messaging was also quite muddled. On the one hand, Batman himself is presented as the hero; the caped crusader who wants to prevent crime and terrorism. Yet the so-called villains of the piece are also vigilantes who are targeting the same corruption and systemic inequality that has plagued the city since before Bruce Wayne was born.
Themes of white privilege and wealth privilege were bubbling just below the surface in The Batman, but the film wasn’t always clear which side of the fence it came down on, nor how it wanted its audience to interpret these themes. Should we root for Batman, even though his family’s past hid crimes, including murder and involvement with the mafia? Does Batman’s role as an avatar of “vengeance” for Gotham City counteract the misdeeds of his family, including, presumably, how they were able to acquire such fantastic wealth for themselves in the first place?
When the Riddler revealed to Batman that he viewed him as an inspiration in exposing the corruption of Gotham City’s police force, politicians, and other community leaders, Batman had no comeback or recourse. Are we supposed to say that Batman’s insistence on not killing his foes, which wasn’t exactly front-and-centre in this presentation of the character, makes him different enough from the Riddler that we can venerate one while condemning the other?
Frankly, the film posed questions through these narrative threads that it didn’t provide satisfactory answers to. Bruce Wayne comes from a position of immense privilege, but the film doesn’t always know how it wants to handle that. Some scenes glorify Bruce’s unlimited resources as Batman, showing off a range of gadgets and high-tech gizmos. Others openly criticise the Wayne family and Bruce in particular for the privilege he enjoys and how he’s perceived.
This gave The Batman a strange kind of moral ambiguity that came close to equating the goals and methods of its heroes and villains. Can we say that Gotham City would’ve been better off not knowing about the web of corruption that the Riddler exposed? If Batman had his way, he’d have prevented that information from coming to light by stopping the Riddler much sooner. It’s only in the film’s final act, when the Riddler revealed his plan to destroy Gotham City’s coastal defences, flooding part of the city, that there was any sense of a “good guy-versus-bad guy” dynamic – and by that point the story was practically over.
The Batman’s main storyline is also unusual for this kind of film in the sense that it ends with defeat. Batman was effectively outsmarted by the Riddler, whose plan was at least partially successful. The action stays focused mainly on Batman and a group of wealthy and privileged city-dwellers, so we don’t even get to see how the flooding devastated lower-income communities. With no advanced warning, it stands to reason that a lot of people would have been injured or killed – but the film glossed over all of that to show us Batman, Catwoman, and Jim Gordon battling the Riddler’s minions to save the new mayor and other members of Gotham’s elite… the same elite that the film had spent the preceding two hours explaining were all complicit in varying ways in the city’s corruption.
The ending of this story felt unearned. Batman spent much of the film claiming to be “vengeance” personified, taking out criminals, gangsters, and stoking fear amongst Gotham City’s criminal underclass – many of whom were the same underprivileged folks (often from minority backgrounds) that other aspects of the film’s storyline seemed to be trying to advocate for. The film’s closing minutes showed Batman as a kind of rallying symbol for the city; the embodiment of hope, perhaps. But this transition seemed to come out of the blue, and I didn’t feel that we’d seen much of anything from Batman himself, or the few friends and allies he had, to inform this change in the city’s attitude toward him.
I wasn’t wild about one aspect of the presentation of the Riddler. We’ve seen depictions of the Riddler before, in productions like the television series Gotham, in which he was implied to be neurodivergent, and those depictions didn’t always succeed at conveying that in a sympathetic way. This is a problem Batman has had across all forms of media going back to its inception, where people with “mental illnesses” are portrayed as being violent criminals, murderers, scheming masterminds, and so on. The entire concept of the Arkham Insane Asylum – which was also featured in The Batman – is part of that, and the Riddler’s depiction leaned into stereotypes of autism and the neurodivergent that are, at best, unhelpful.
I’m a big advocate for better representations and depictions of mental health in media, and this kind of rather crude stereotype of the obsessive autistic loner who becomes criminally violent is not the kind of positive portrayal that we need to see more of. At its best, I’d say it was right in line with what DC Comics has done with the villains of Gotham City going back to the 1940s. At worst, I might say this depiction of a neurodivergent individual as the film’s primary antagonist is problematic.
On this side of the story, though, I will credit The Batman for trying to make a social point. There are subcultures in secluded corners of the internet where individuals gather to discuss their violent fantasies and conspiracy theories, and this side of the Riddler’s presentation felt timely and realistic. I can buy into the idea that someone like that would gain a following – because we can see it happening in real life with the likes of the QAnon conspiracy theory and incel subculture, to name just two examples.
This presentation stuck the landing, even while the Riddler’s felt a little uncomfortable, and in a film that clearly had the ambition of parachuting a superhero into a “realistic” setting, presenting the villain’s henchmen or followers in this way was a clever inclusion. It’s one element that adds to the immersion of the setting.
So that was The Batman. I didn’t hate it, but I stand by what I said at the beginning: it didn’t really bring anything new to the table. It felt like an iteration on not only what Batman films have been doing since at least 2005, but also on what DC Films and Warner Bros. have been doing with all of their recent comic book adaptations. We got a dark, gritty attempt to bring superheroes into the real world – a world rife with criminals, drugs, and other problems. There was nothing fun or light-hearted about that… and I think that’s where DC continues to miss the boat.
Comic books and the worlds they created are aimed at kids, and they bring with them comedic moments, light-heartedness, and positivity. A muddled story that couldn’t quite decide who to root for and how in a setting that was as dark and gritty as they come didn’t provide any of that, so when I compare The Batman to even the least-enjoyable Marvel outing, something was missing.
A sequel already seems to be on the cards, with the film even closing with a tease as to who Batman could be facing off against next time. Perhaps when it’s ready I’ll be convinced to take a look!
The Batman is the copyright of Warner Bros. Pictures, DC Films, and DC Comics, Inc. The Batman is available to stream now on HBO Max in the United States, and on Amazon Video, Google Play, the Microsoft Store, iTunes, and other video-on-demand platforms around the world for a fee. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.