Director Matt Reeves’ The Batman isn’t the Dark Knight’s finest hour.
, and to instead see this feature as the beginning of the franchise’s future. Unfortunately, the new Dark Knight doesn’t rise to the occasion.opens on the city just a couple years into Bruce Wayne’s career as the Dark Knight. Inexperienced as this new Batman is, he’s well past his days of merely looming in people’s imaginations as an urban myth. Gothamites know there’s a vigilante lurking in their midst who hunts down and brutalizes criminals.
Though Batman terrifies most of Gotham’s on-edge police force, he shares an uneasy working relationship with James Gordon , a GCPD lieutenant constantly butting heads with his colleagues over his use of the Bat-Signal and his willingness to invite the Dark Knight into ongoing investigations. As green as both Gordon and this Batman are, they’re also powerful because of their ability to strike fear into the heart of Gotham’s criminal element simply by shining a bright light into the sky.
allows itself to enjoy a little bit of whimsy that always feels just out of Batman’s reach, especially in the many scenes where he’s just standing there silently brooding while staring into nothingness. Whenever the film starts to have some fun, though, it cuts things short, almost as if to remind you that this is supposed to be Gotham before costumed psychopaths gallivanting around was a regular occurrence.
What’s most likely to take audiences by surprise, and perhaps draw some criticism, are the decisions that were made regarding the sound of Pattinson’s Batman: a man who breathily snarls in a soft-spoken voice that’s difficult to imagine supervillains being scared by.
puts so little effort into trying to maintain the semblance of a double life that you’re left wondering how no one’s managed to figure out who he is.ends up bearing to
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