The headline promises something huge, that the new “The Batman” is even darker and therefore deeper than “The Dark Knight,” which is a big claim. The level of gravitas that’s needed for this franchise keeps raising the bar for entire creative teams.
The level of gravitas that’s needed for this franchise keeps raising the bar for entire creative teams.
Remember, we’ve had decades of white, spandex-wearing heroes that have shaped our cultural landscape. Reeves is fearless, stripping the genre of its supernatural elements and thereby introducing a much more interesting, and significantly more complex version of this “classic” hero. I’m sure you know the controversial thought that evil is the other side of good and that the line between the two is surprisingly thin.
Able to go toe-to-toe is actor Paul Dano, as the Riddler, who arrives from the murky villain archetype who’s focused on exposing the white-collar schemers who are sitting at the highest levels of power. It’s interesting that both hero and villain are vigilantes, one choosing to cooperate with law enforcement and others, drilling in on the systemic corruption that undermines our faith across the board in Gotham City, and in the real world.
Reeves, from the very start, breaks away from the expected stylistic images associated with the genre. A gifted visual storyteller, he expertly establishes a tone that is uniquely his own. I would never want to offer any spoilers, but I would suggest that you pay close attention to the long “vein” of corruption that runs through Gotham. One that includes tracing back to the Wayne family.
Gotham’s midtown looks and feels like Times Square and is illuminated by even more digital screens and more buildings. Batman watches his city, sometimes from an upper floor, half-built skyscraper, and his Batcycle.
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