The Batman

Es una excelente manera de tomar un nuevo camino y no decepcionar a los espectadores mimados por Nolan. Matt Reeves es el tipo que puede tomar una fórmula de trama simple y hacer un espectáculo tan fascinante que intoxica a los espectadores con cada escena en el transcurso de tres horas. La deliberada lentitud de muchas de las escenas, con su refinada puesta en escena, estiliza más a los personajes y construye una oscura atmósfera de desesperanza de un entorno sucio y corrupto. Giacchino está irreconocible y sobre todo en las escenas de suspense trasciende la sombra de su propia creatividad, los actores están bien elegidos y dirigidos (Farrell de nuevo el más expresivo) y el nuevo Batmóvil hace una gran entrada. Lo que resta potencial a la película es su escasa accesibilidad: su alma tan oscura combinada con un concepto argumental de búsqueda de un asesino psicópata, fuertemente inspirado en la película Seven de Fincher necesitaba un poco de violencia gráfica. Aquí, Batman, en el momento de mayor furia de toda la película, le pega al malo en la cara con los puños quien ni siquiera tiene sangre en la nariz. Y la película contiene más de las mismas tonterías, a veces puramente lógicas, que contrastan con los detalles cinematográficos fantásticamente elaborados. (13.03.2022)

Los creadores tomaron como referencia algunas de las mejores ediciones de cómics, lo que los predispuso al éxito. Por supuesto, entre los fanáticos que prefieren al oscuro y detectivesco Batman, la atmósfera oscura se logró con creces. Otro punto a favor lo ganan los villanos, Paul Dano está fenomenal y Colin Farrell es irreconocible, algunos espectadores tendrán que acostumbrarse al personaje del Pingüino, definitivamente no es la interpretación de Danny De Vito. Lo que no me gustó tanto fue la elección de Jeffrey Wright, aunque es un gran actor, y sobre todo Pattinson, que me irritó como vampiro y también me irrita como hombre murciélago. Sin embargo, esto es puramente mi opinión subjetiva, seguramente encontrará seguidoras y podrá aprovechar su participación en Twilight para siempre. Será interesante ver en qué dirección se moverá el nuevo Batman. El final nos dio pistas sobre quién enfrentará la próxima vez... (10.09.2022)

This is an intimate, depressing, gothic noir emo that at times looks like a nightmare of a light-headed sociopath, on the one hand lonely, on the other thrown into a claustrophobic space where law and crime embrace each other so tightly that it is impossible to distinguish them. A cleverly adapted origin story and a tale of a man consumed by revenge are superimposed on an almost Fincher-esque thriller. It's slow, sometimes driven to maximum effect, backed by the famous Riddler... three hours doesn't seem like a problem to me, because Reeves does it with precision, heavy-handedly, and unlike Snyder, it's not a masquerade at the bottom of dead mannequins, but still a human drama - even if simplified compared to Nolan. Pattinson fits the role perfectly, but the main asset is Paul Dano as the king of the incels. Reeves has delivered his own similarly willful project like Villeneuve recently did. For me, it's a hundred times better than the comically depressing Joker charade and several levels above the DC duds of the last decade. Finally the darkness breathes, the scars don't heal and the rats gnaw at the flesh. (28.02.2022)

It's impossible not to see a hundred or more sources of inspiration; from 1970s Lumet to thriller Fincher to early Proyas. Ditto when it comes to the inspiration for specific comics, games and cartoons featuring the Dark Knight. And yet, it's purely Reeves's singular vision that doesn't go for traditional blockbuster gilding. It builds on atmosphere, grime, big city corruption, style (just the camera and lighting work), subliminal tension and pacing (or lack thereof). Gotham is more of a character than most of the ensemble. Pattinson plays Batman purely through stubborn silences and penetrating glances as a "voyeuristic inexperienced weirdo in a costume" instead of a traditional (super)hero. What Reeves didn't manage well, however, is the running time. Not that there's anything that feels out of place, and not that it drags, but several of the themes and characters (including Bruce) are so far down the road that they could (and should) be in the eventual sequel. That said, as an origin story of a grounded Bat-universe, it’s flawless. (02.03.2022)

Matt Reeves delivers a confident vision of the world of Batman, going in a completely different direction than his predecessors. As he sees it, Gotham is an ugly and dirty city, and its inhabitants are tired of corruption and crime. So it's no surprise that Reeves’s and Pattinson's Batman is no pushover. The new Batman doesn't gloss over the inspiration in crime dramas from the 1990s and thrillers from the 1970s, recalling Se7en, Serpico and Death Wish. And there's a lot more talking and investigating, as Reeves made a primarily crime thriller set in a much more realistic and believable world than his predecessors. It looks nice, it sounds great, and Robert Pattinson is very good as Batman. Unfortunately, he's not very good as Bruce Wayne, and overall the work with his “civilian hero” is a bit jarring. Mainly because despite the three-hour running time, they ultimately didn't quite manage to pull all the motives, storylines and twists to a satisfying conclusion, making some elements of The Batman feel sort of half-hearted. In short, there's an awful lot to deal with, and Reeves doesn't always manage to pull it off to a satisfying conclusion. Less is sometimes more, on the other hand it all still works enough to make a good film. (28.02.2022)