), Abel Ferrara’s neo-noir sleaze , comic artist Frank Miller’s nihilistic take on the vigilante, and every other Batman filmmaker who came before , Reeves’ film is a big, sloppy, violent kiss of a movie. The hero is severely damaged, the villains truly psychotic.
It is more than a little silly to say that finally someone had the stomach and stones to make a “dark” Batman movie – every Batman project post-Schumacher has boasted of having the darkest of Dark Knights – but Reeves has made the bleakest. Or maybe the meanest.franchise, starts off on the best note possible:yet another origin story. For once, we can watch a Batman movie without having to brace for a scene in which Thomas and Martha Wayne are shot dead in an alleyway.
When Reeves’ film opens, Batman has been prowling Gotham already for two years, earning a solid vigilante reputation among the criminal class while also establishing tentative relations with the police, led by a not-yet-commissioner James Gordon . Other familiar faces are also in play. Loyal Wayne family butler Alfred is tending to Bruce’s wounds and technology. Selina “Catwoman” Kyle is slinking around causing trouble in the background.
Then The Riddler arrives on the scene to violently shake up Gotham’s status quo, taunting Batman with a perverted glee that recalls, at the film’s best moments, Heath Ledger’s anarchic Joker crossed with the unstoppable force of nature that was Fincher’s faceless Zodiac Killer. The Riddler’s movie-length puzzle – some parts of which are more clever than others – doesn’t quite shatter everything that we ever knew about Bruce or his megafranchise, but it doesn’t much matter, either.
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Source: Entertainment Trends (entertainmenttrends.net)
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