Movie Review: Matt Reeves Batman is no longer a playboy. Robert Pattinson tackles corruption in a city where it is constantly raining

Bruce Wayne has never been a hilarious kick. But his latest reincarnation in Matt Reeves’ new film The Batman is by far the most gloomy. Batman doesn’t show parties here, he goes to techno and funerals. And when they arrive at one or the other, they start shooting there to the beat of the bass, and suddenly the heads of the mourning guests explode.

The new Batman is played by Robert Pattinson and is more like a private eye plagued in the spirit of film noir by personal demons, which are as threatening as the conspiracy it must come to grips with. The film refers to dark thrillers of the Seven type, in which a brilliant killer is always one step ahead of the heroes.

After deciphering the puzzle, they flee across the city to find their loved ones, which they can no longer save because it is too late. Here, however, the puzzles look smarter than they really are.

Batman and Commissioner Gordon search for a secretive and dangerous police informant and find out how rotten the city establishment is. The mobsters are grazing by high-ranking police officers and elite politicians, who are just rubbing honey around people and keeping their promises.

Both the commissioner and the superhero are always behind the bad guys, and the audience is often ahead of them. Sometimes it’s a little ridiculous because the new Batman is a movie where someone constantly threatens to see nothing so horrible, devilish, and dark in life – which the viewer would like to judge, but the horrors are mostly hidden.

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When someone has news in the film, the moderators say that the following shots will be extremely drastic and disturbing, but again, these are mostly somewhat empty promises, perhaps because this film is not inaccessible.

Still, it’s nice to see a comic blockbuster over time that doesn’t look like it was created by a generator. It shows how much work the technical professions have done from the expedition to the lighting, you will feel that an editor who worked on the sequence of shots worked on it, and that it was all filmed by a cameraman, thanks to whom the local dark world does not look plastic but earthy.

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When Batman engages in battle in a dark corridor, she is illuminated only by short intense strobe shots – dazzling by a penguin-hunting car chase, or a shootout in a techno club, where Reeves manages to cut out a great running joke with two identical twins.

We watch the disgusting misty Gotham, reminiscent of the metropolis of a three-year-old Joker. The crime was also flourishing in it, giant rats were running around the soaked garbage dumps, and one incel wanted to avenge society. This is where Batman is flooded by the Riddle, who is a bit of a mirror Bruce Wayne, without money or muscle. His agenda also commemorates Bane from the film The Dark Knight Rises by Christopher Nolan.

I have remembered this particular Batman film several times, also thanks to Selina Kyle alias Catwoman, who, like Nolan, is beating a rich and privileged world. The last part of Nolan’s trilogy is also reminiscent of the destructive terrorist finale – but within it, Reeves can at least cut out majestic images, as if moved directly from comic books.

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Unlike Marvels, actors can actually play something, even if the scenario makes them annoyingly repetitively deal with complicated relationships with their parents. Pattinson is good, but if you want to see how great he can be, in total crisis and trembling, try his older film Good Times. Three hours with him as Batman will run away unexpectedly fast. However, their existential ruin will probably not be completely passed on to you.