“Batman, The” (2022) Overlong, needlessly murky (both visually and narratively) and prone to a pretension that its concession to the most predictable standards of the genre fails to merit, “The Batman” is the umpteenth origin story of the Caped crusader; only one which dishonestly shrugs off such a tired distinction. Even the most cheaply rendered or campily redressed versions of Batman (i.e., the two 1940’s Columbia serials and the psychedelically pop-art television and its motion picture offshoot) sensibly dispensed with the arduous task of explaining and excusing the nature of the comics’ most acclaimed self-appointed vigilante (more famously mislabeled as “the world’s greatest detective”). However, with ” The Batman”, the issue of capable crime fighting has even less to do than usual with a call to civic duty than with justifying obsessive interference in police investigations due to daddy issues; the unraveling of which make less sense than ever, but are meant to be taken with far more gravitas due to the fact that entire enterprise is presented in unrelenting semi-darkness. (Seriously, can no one in Gotham City afford a light bulb?)
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I will NEVER understand the public fascination with Batman. But then maybe this ceaseless cycle and recycle isn’t really public fascination. Maybe it’s just Hollywood exhaustion.
Bit harsh I think- at least this one had a lot of screen time for the Batman and less of the angst-ridden Bruce Wayne. I quite enjoyed it for all its Taxi Driver/Zodiac/Seven machinations.
I did see ‘Batman Returns’, the one with Danny De Vito as The Penguin.
That one was more than enough to make me yearn for the original DC Comics.
Best wishes, Alan Napier.