For most of our generation the original Batman era was the 1990s Tim Burton Joel Schumacher series, with Jack Nicholson’s defining Joker and Michael Keaton passing the baton to Val Kilmer and George Clooney even, and a popular star-cast ranging from Uma Thurman (Ivy), Arnold Schwarzenegger (Iceman), Jim Carrey (Riddler), Danny Devito (Penguin), Chris O Donnel (Robin), Alicia Silverstone (Bat Girl), Michelle Pfeifer (Catwoman). It was the perfect “pop” Batman series, for the “pop” time of our lives.
As we went through the next decade of a self-doubting internal journey of re-discovering our society and ourselves through Nolan’s interpretation of the dark knight for our dark times (2005-2012), that became the defining iconography of Batman for times to come. Typical Nolan.
However, the decade that followed (2010’s) belonged to Marvel and as MCU went from strength to strength, DC lost the plot and reflected a confused identity through what was arguably a confusing time (Trump, Brexit, right-wing, Covid, BLM, and whatnot). With the exception of the first Wonder Woman, all of the others (Batman vs. Superman, Justice Leagues, WW84) failed to meet the mark.
Which brings us to today, as a new decade emerges out of the shambles of the last 2 years. Arguably, one of the darkest times in recent history, for one of the darkest superheroes we will always have.
Against this backdrop, The Batman 2022 largely hits the spot.
The plot this time is around Riddler (Paul Dano) as the main villain killing the corrupt high and mighty of Gotham, exposing their deceit and their failed promises of ‘achche din’. As Batman gets caught deeper in the maze that Riddler has set up, Commissioner Gordon (Jeffrey Wright) and Cat woman (Zoe Kravitz) partner him in solving the puzzles, revealing secrets from the past and the present linking the Wayne family, Carmine Falcone, Maroni’s and the Penguin (Collin Farell), finally leading towards a seemingly futile but inevitable journey of saving Gotham from itself.
Director Matt Reeves paints a new vision for Batman. And for that, the film is worth watching. More importantly, it sets a good precedent to see how this series develops with the next few movies. The story is nothing to write home about, the actors do a decent job, though nothing spectacular, and the action is engaging but again nothing we’ve not seen before. But what makes the film is the treatment of it, which shows the director’s ambition. It is the cinematography, the camera movement, and the music that come together to create the impact in the film.
There is an authenticity about the Gotham that Reeves creates, which is appealing with all its flaws and its darkness. It’s a Gotham that feels real and not a faraway fictional city from the comic books. The young Batman, who is both naive at times and cynical at others, feels more human than a superhero. He is vulnerable, needs help, and gets hurt. No grand hero, no big happy ending, no applause, no angst, no victory, no heroism. Batman 2022, is in sync with the truth of our times. No one man can save our world, we all need to play our part, as we emerge from the broken pieces of our lives, and re-make our own Gotham, one day at a time.
And to the burning question, does Robert Pattinson make a good Batman?
The answer simply, is that this is an entirely irrelevant question.
For in this new telling of the superhero, it almost does not seem to matter. Matt Reeves’s vision dominates the film and all actors and acts are just mere vehicles to deliver this.
All in all, it’s a promising start to the next DC chapter.
With no more MCU to compete with, here’s the possibility of a fresh beginning for the DC franchise. A new Batman, a new vision, a new start.
Don’t waste it DC and Warner Bros.
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