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The only element that categorizes “The Batman” as a superhero movie is just that… the Batman. Otherwise, this thrilling new installment of the oft-repeated story of Bruce Wayne’s crime-fighting alter ego is a horror story, a psychological drama, a thriller, and a suspense film. Couple those all together, and you have a surprisingly compelling neo-noir detective story.
There is absolutely no doubt, at least in my mind, that potential second and third installments of “The Batman” will evolve this surprisingly refreshing reinvention of a “superhero” movie. The Batman, also known sometimes as Bruce Wayne, will develop into the dashing detective. Selina Kyle will morph into the Femme Fatale, with emphasis on fatale. Zoe Kravtiz’s Selina Kyle is grounded into a subject with complex rationale and the necessity to utilize her cat-burglary skills as a means of survival. In fact, “Catwoman” is not formally uttered once in “The Batman.” Contrastingly, director Matt Reeve’s film has buried the humanity of Bruce Wayne in favor of the personifying The Bat. Interestingly, it is the regular folk of Gotham (and Alfred) who refer to Batman as such. Those on familiar terms with Batman’s crime-fighting agenda know him as “Vengeance,” a crucial detail in the dynamic characterization of Batman in Reeve’s film. While this first installment sees Batman, or “Vengeance,” team up with Selina Kyle, we may next see the personification of Kyle’s developing alter ego, Catwoman, team up with the humanized, incredibly well-placed for noir-esque espionage acts Bruce Wayne.
“The Batman’s” praises have been sung far and wide from critics and fans alike. However, some general fans have desires and takeaways that may linger in the wake of the film’s cinematic success. Some comments I’ve come across include, “It’s just really hard to root for Batman,” and “…I wished Robby would have told Selina his identity and had more Bruce in him when he was out of his lil costume. He was basically mr broody all movie.” Both assessments are totally warranted. After Ben Affleck’s out-of-this-world Marvel-esque take on the character, it would be *super* hard to root for a sad Batman who gets things wrong and is still figuring out what and who Batman really is. Also, I would argue the broodiness of Bruce Wayne out of Batman’s armor is part of the film’s visible representation of Bruce’s grief and how far he’s willing to go to continue his family’s legacy through Batman. What’s more noir than a broody man that wears a lot of eye makeup and doesn’t like being around too many people? You’ve all thought of at least one other character, or real person, who fits that description. Babes love broody boys.
The vision of director Matt Reeves has set an incredible precedent to follow. If Reeves is not intimately involved with the two announced spin-off series about The Penguin and the Gotham City Police Department, Warner Brothers may end up eating dirt…again. In fact, they already have, with Reeves revealing in the press that there isn’t actually any Gotham P.D. series in the works. And it took one interview from Reeves to get that information out there? What is the strategy over at Warner Brothers headquarters? According to new promotional material ahead of “The Batman” in theatres, Warner Brothers is trying so hard to sweep its messes under the rug. However, the success of “The Batman” coupled with the previous failings of the DCEU may result in a uniquely educated decision to let the people who do what they do best take creative control.
“The Batman” is fun to watch, thought-provoking, and dares audiences to use their brains both in cinematic viewership as well as contextualizing new lore. Although the ending perhaps left some kind of resolution to be desired, Reeve’s goal may be to deny audiences an adequate denouement and leave a lingering itch for resolution. A gripping three-act screenplay that doesn’t leave audiences bored, coupled with detailed direction, sweeping cinematography, a heart-pounding score, and subtly intense performances makes a cinematic gold mine.
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