You might have thought Batman couldn’t get any darker, but you’d be wrong. Read BilgeEbiri's review of TheBatman
Robert Pattinson and Zoë Kravitz in The Batman. Photo: Jonathan Olley/Warner Bros. and DC Comics Robert Pattinson’s Batman walks so gingerly, so quietly into most of his scenes in Matt Reeves’s The Batman that at times you wonder if he’s meant to be more ghost than superhero. It makes sense on a practical level: If a guy is going to lurk in the shadows and do everything to avoid being seen, he probably shouldn’t burst his way into every room. It also makes sense on a spiritual level.
And it really is a serial-killer movie. The film opens with the grisly murder of Gotham’s mayor by a mysterious, black-clad figure who seems to materialize out of nowhere. The Riddler sends cleverly concealed messages to Batman, along with elaborate cyphers, often incorporated in some way into his elaborate murder-and-torture devices, à la Seven or Saw.
There’s little differentiation here between Bruce Wayne and Batman, no alter-ego shenanigans. Pattinson is a tall, handsome, strapping fellow, but he plays Bruce Wayne with such broken, mournful despair that his body is practically concave when it’s not in a batsuit. “Two years of nights have turned me into a nocturnal animal,” he whispers in a slightly on-the-nose voice-over/journal entry that feels straight out of Taxi Driver.
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