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Movie Info:

IMDB Ratings: 8.6/10
Director: Matt Reeves
Genre: Action, Drama, Crime
Release date: 4 March 2022
Language: Hindi, English
Quality: 480p, 720p HDCAM
Cast: Robert Pattinson, Zoe Kravitz, Jeffrey Wright

Story: When the Riddler, a sadistic serial killer, begins murdering key political figures in Gotham, Batman is forced to investigate the city’s hidden corruption and question his family’s involvement.

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“The Batman” is not a superhero film in the traditional sense. No, not at all. All of the trappings are in place: the Batmobile, the tough suit, and the gadgets provided by Alfred, the Bat’s trusted butler. In the middle of it all, there’s the Caped Crusader himself: gloomy and troubled, he’s searching for his own brand of nocturnal justice in a Gotham City that’s on the verge of collapse.

However, in Reeves’ capable hands, everything comes to life and becomes startlingly fresh. As director and co-writer, he has taken what appears to be a common storey and transformed it into something huge, even operatic. Instead of being a high-flying, action-packed blockbuster, his “Batman” is more in the vein of a dark, ’70s criminal thriller. “The French Connection,” with its fast-paced, unexpected action, is reminiscent of films like “The Warriors” as well as “The French Connection,” which is considered to be one of the finest films of all time in the genre. And, thanks to a sequence of high-profile killings that serve as the plot’s driving force, it occasionally feels as if the Zodiac murderer is terrifying the inhabitants of Gotham.

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Despite these distinguishing characteristics, though, this is undeniably a Matt Reeves picture. As he has done in the past with his suspenseful instalments in the “Planet of the Apes” franchise, he has produced an electric and fascinating spectacle that is also based in genuine, emotional stakes. Instead of acknowledging and reinventing the comic book character’s heritage in a wink-and-nudge manner, this is a Batman film that is both significant and bold in its examination and reinterpretation of the character’s role within pop culture. The script, written by Reeves and Peter Craig, challenges this hero to confront his past as well as his purpose, and in doing so, presents an opportunity for us as spectators to question the narratives we hold to in our own lives as well.

Moreover, with Robert Pattinson taking on the part of Bruce Wayne, we have an actor who is not only prepared, but also eager, to explore this figure’s strange, evil impulses and motivations. In this picture, there is no suave, wealthy heir to a fortune roaming the streets while donning a fashionable outfit. Travis Bickle, dressed in the Batsuit, is disconnected and disillusioned with the world. Wayne Tower, where he is stationed for the next two years, is a welcome change from the normal sprawl of Wayne Manor, and suggests an even greater seclusion from humanity. He has been Batman for two years, and he is still on the hunt for criminals. When he says “they think I’m hidden in the shadows,” he is referring to the audience’s perception. “But I am the shadows,” says the author. In the harsh light of day, Pattinson resembles a hungover indie rock star, which we find appealing. Even behind the military gear and eye black, you can sense the thrill he gets from swooping in and delivering his version of retribution at nighttime.

Throughout his career, Pattinson has proven that he is at his best when he is portraying characters who make you feel uncomfortable. This has been demonstrated in nearly every role he has taken since “Twilight” catapulted him to global stardom in 2008, working with singular directors such as David Cronenberg, Claire Denis, and the Safdie brothers. Pattinson, perhaps even more than Christian Bale in the part, is very adept at making his lovely, angular features appear frightening. Consequently, when he first spots Zoe Kravitz as Selina Kyle, slinking down the fire escape in her leather motorcycle gear and shimmying down the fire escape in her own quest of nighttime justice, there’s an undeniable flare of a charge in his eyes: Ooh. She’s a complete weirdo, just like me.

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Pattinson and Kravitz have incredible chemistry on and off the screen. Every step of the way, she is a match for him, both physically and emotionally. This is no flirtatious, purring Catwoman: she is a warrior and a survivor with a strong sense of what is right and a devoted heart. Following her starring part in Steven Soderbergh’s high-tech thriller “Kimi,” Kravitz has continued to demonstrate a ferocious charm and quiet power in her subsequent roles.

As a supporting actor, she is a member of a “murderer’s row” of supporting actors, all of whom have substantial roles to play. As the future Commissioner Gordon, Jeffrey Wright is a rare voice of idealism and morality, and he ought to be heard. Carmine Falcone, played by John Turturro, is a low-key yet effective mob lord. As Alfred, Andy Serkis (Caesar in Matt Reeves’ “Apes” flicks) gives a sense of paternal knowledge and tenderness to the role. Colin Farrell’s portrayal of the sleazy, malevolent Oswald Cobblepot, better known as The Penguin, is utterly unlike his previous roles. In addition, Paul Dano is absolutely horrifying as The Riddler, whose own need for revenge serves as the story’s central axis. It’s reminiscent of his striking work in “There Will Be Blood” in that he goes to extremes in this film. His insanity is so strong that you may find yourself laughing out loud at unexpected moments only to relieve the tension he produces. However, there is nothing humorous about Dano’s portrayal; instead, you get the impression that you are seeing a man who is sincerely, terribly distressed.

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This is not to argue that “The Batman” is a depressing film; just the contrary. With a running period of over three hours, this is a picture that is continuously viscerally riveting, despite its excessive length. During one of the film’s most action-packed moments, the Batmobile is transformed into the coolest Batmobile yet, a powerful car right out of “Mad Max: Fury Road” that looks like it belongs in the movie. I genuinely applauded throughout the viewing because of the spectacular automobile pursuit and chain-reaction accident that culminates in an upside-down image of blazing wrath. During a battle in a raucous nightclub accented by throbbing red lights, you can feel every punch and kick that is thrown at you. When you witness this superhero in his early days, it’s one of the more engaging aspects of the experience: he isn’t invincible.) Also terrifying and exhilarating is a firefight in a pitch-black hallway, lit only by the flashes of shotgun fire. The music, composed by legendary composer Michael Giacchino, enhances the impact of sequences like this to an incredible degree. He is most known for his work on Pixar films, but with “The Batman,” he takes a completely different approach: it is percussive and horn-heavy, it is big and demanding, and you will feel it deep down in your core.

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While working with artists and craftsman at the top of their game, Reeves has created a film that is both ethereal and solid at the same time, robust but impressionistic in style. Greig Fraser pulls off the same kind of spectacular magic trick that he accomplished with his Oscar-nominated work in Denis Villeneuve’s “Dune”: he captures the same kind of beautiful magic trick that he performed with his Oscar-nominated work in “Dune.” Through the use of pouring rain and neon lights, his artwork has both a lightheartedness and a heaviness to it. The Batman 2022 His use of shadow and silhouette is superb, and it contributes greatly to the creation of a feeling of foreboding and anxiety in the work. A separate article on the film’s numerous uses of the colour red to signify energy, danger, and even hope may be written in its own right. And the costumes, which were designed by the legendary Jacqueline Durran, with Dave Crossman and Glyn Dillon creating Pattinson’s rough-and-tumble Batsuit, added the perfect final touch to the film’s stylish, edgy mood.

Although it isn’t really a Batman film, this is the most gorgeous Batman film you’ve ever seen—even if it isn’t exactly a Batman film at all.