Reeves’ three-hour-long “The Batman” includes plenty of action, character introductions, gadgets and other various superhero accoutrement. But it is no extravaganza. This “Batman” is a morose mood piece, soaked in shadow and rage, that has stripped the comic’s archetypes down to abstracted silhouettes and grubbily human characters. If Jim Carrey’s Riddler were to wander into this movie, he would fit in about as well as Bugs Bunny in “Taxi Driver.
The issue, though, is that “The Batman,” having found its tone and immersive atmosphere, wallows in it. There is surprisingly little suspense because the film struggles to find more than one note to strike. Even Pattinson’s Bruce Wayne is just as downbeat and grave as his Batman. Like a Paul Schrader character, he has abandoned nearly all social engagement, instead tortuously writing a diary to document the horrors he witnesses nightly.
OK, but does Batman, like, kick some butt, too? What about the Batmobile? It’s not all just a seedy slog through the Gotham sewer, is it? Well, almost. “The Batman” is structured as a detective story. There’s a delightful scene where he, in costume, stalks a crime scene he’s been sneaked into by detective Gordon .
As firmly gripped as “The Batman” is early on, you can feel its hold slipping as it extends into its lengthy running time, and I think that’s partly because Pattinson’s performance is largely limited to either sudden eruptions of fury or timid skulking in the shadows. For an actor who has long stayed clear of the mainstream, it’s thrilling to see him take on something this ambitious.
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