I’ve seen The Batman (2022 edition) twice now, all three-plus hours of it. With a few small exceptions, I think that this installment in the large and varied Batman movies stands as the best cinematic Batman yet. Prior to this movie, I used to think that, as a character, the first Michael Keaton movie turned both Batman and Bruce Wayne into an understandable being, not a joke like the 1960s TV show. In contrast, as a cinematic experience, the Christian Bale trilogy stood above all the rest. Meanwhile, the later movies in-between the Keaton and Bale, the ones with Val Kilmer, George Clooney, and Ben Afleck in the leading role, all were forgettable. This is, as a reminder, simply my opinion.
The 2022 movie is a reboot (again), but it isn’t an origin story. Robert Pattinson’s Batman has been operating for two years in Gotham, but seems to have made little difference in the fight against crime and criminals. Crooks both large and small still operate in the city, the police see Batman as a vigilante, and Batman sees himself only as “vengeance.” Clearly, this movie sets up future sequels, although often sequels are victims of the predecessor’s success.
In terms of the supporting cast, I preferred Anne Hathaway as Catwoman to Zöe Kravitz (although Michelle Pfeiffer remains the best one yet). Hathaway had attitude and presence on the screen, while Kravitz seems almost laconic, too laid back, too invisible. In terms of villains, no one tops Heath Ledger’s Joker, but in this movie the Riddler is far more menacing than the comedic version in the earlier movie, the one played by Jim Carey. (I shudder to think of those earlier movies now, all with big name stars in various roles, and all acting as if they were in the 1960s TV version.) I’m not sold on Andy Serkis’ Alfred, and while I thought Jeffrey Wright was a decent Gordon, Gary Oldman is a far better actor and a far better Gordon. Robert Pattinson’s brooding version is much better than Christian Bale, which bodes well for future installments.
In general, superheroes are tragic figures. Most of them lead two lives. Alter-egos are necessary to keep loved ones from harm, and this means they can’t expect happy lives. Live Superman, they may be invincible, but their loved ones usually are not, and so exposing friends, family, and loved ones would lend their enemies significant advantages. Both Bruce Wayne and Batman remain cut off from happiness; Wayne as a billionaire is guarded less people take advantage of him and his wealth, while Batman must remain behind his mask. When Catwoman appear ( as she has in thee movies), there’s a hint of romance — the Cat and the Bat, as Kravitz says. Would it work? Maybe not. It serves as the typical sexual and emotional tease that’s part of movie and TV-making 101.
These are all fragmentary observations, but having sat through the movie twice, I think I would not mind seeing in a third or fourth time. I don’t think I can say the same for prior versions, though there are snippets here and there in each movie (except for the two Schumacher movies and the later Justice League movies) that are well-made, and if those snippets appear on the TV screen I’ll stick around for a few minutes.
