'The Batman' review: Robert Pattinson becomes the Dark Knight with ease

Remember the time Robert Pattinson got cast as the Batman? Positive buzz at that time was blown away by 'Bale'ful people who did not want a 'glittery human mirror' play the very embodiment of darkness. With 'Battinson' doing rounds on social media alongside 'Batfleck', it seemed certain that DC was headed towards a train wreck (yet again). Pattinson may not escape his vampire image easily from the 'Twilight' saga days, but first few minutes of 'The Batman' make you curious indeed.

Anything with Batman has never been straightforward. Be it in previous movies or in now-legendary 'Batman: The animated series'. There is a lot of psychology. Batman is no sunshine superhero like Superman and villains in Gotham City are complex. All of them have backstories, their reasons, their traumas. In recent movies, these villains have shown a certain affinity towards establishing an anarchic political system.

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Tom Hardy's Bane wanted to take power from the authorities and give it to people, bloodshed, blasts and everything else notwithstanding. Heath Ledger's Joker was given to 'social experiments' (which actually would have been great research papers had he not used, well, humans!)
In 'The Batman', Pattinson has the 'Riddler' as his nemesis. Another Batman villain 'The Penguin' (Collin Farrell) is in tow.

Riddler has previously been portrayed by none-other-than Jim Carrey but his over-the-top physical acting just does not cut it anymore with fans. Riddler in 'The Batman' is a non-descript evil doer who sends Batman and Lieutenant Gordon (Jefferey Wright) on a wild goose chase. The Riddler kills and kills, all the while sending riddles Batman's way, many times mockingly.

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Pattinson has underplayed Bruce Wayne. Christian Bale's Bruce Wayne, when not in batsuit, was still a winking millionaire surrounded by tittering ladies won over by his winning smile. Pattinson's portrayal makes Batty appear half nuts (which he truly is).

For many, Pattinson is yet to show his full acting range. The Batman just maybe his first step in that direction. What helps him is the noir treatment.
Another beneficiary of such an approach is Gotham City. It has been mentioned to be a corrupt cesspool of crime many times in the past but has almost always been shown to be a little New York-ey. 'The Batman' perhaps comes closest to depicting the city how it actually is, at least visually. There is always a pallor of depressing darkness in almost every frame. Mud puddles, rusty discarded cars along the streets are aplenty. Fruitless endeavours to 'beautify' shady corners with hopeful slogans create a sick environment.

In Christopher Nolan's trilogy, Batman's actual fights with thugs are fleeting. They reinforce the idea that physical fight with Batman is a forgone conclusion. Batman does not NEED to show his chops just to prove to viewers that he is this superhero material. Everyone knows who will win in such an entry-level superhero function. But why the Nolan trilogy gained cult status is because it had a grand strategy that Batman always had to be against.

Pattinson's Batman continues being in these shoes. He is simply better than any human trying to pull some punches (in vain) at him. The fight scenes, though largely fleeting, have been shot brilliantly, especially the one in which Batman is only visible moment-after-moment in the light cast by bullets being fired at him.

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The ever-dependable Alfred Pennyworth is portrayed by Andy Serkis. One does miss Michael Caine's masterful endearment here. Maybe Serkis's Alfred will take a bit getting used to.

Zoe Kravitz's Catwoman is Not for your eyes only. The pretty lady gains your attention just enough before embarking on what is her own agenda throughout the film, a far cry from Halle Berry's 'little-too-sexualised' and more badass than Anne Hathaway's spunky one.

Collin Farrell melds into the makeup of Penguin, the right-hand man of mobster Carmine Falcone.

A pleasant (and scary) surprise is Paul Dano's Riddler. The Bat-nemesis sounds ominously like Bane in initial scenes, but quickly takes a path of his own through the story. The final showdown between him and Pattinson is a sneak-peek into the Riddler's mind (A nicely written scene by the way). The elements of this bit make you remember Batman's such one-on-one with Joker and Ras-al-Ghul. (WHERE IS SHE!!)

Ultimately, it is good that DC (finally) chose to do what it is good at. A brooding, dark superhero does not always mean you are alienating younger viewers. DC Comics have deep enough material to keep the studios from getting cold feet and to want to 'add humour' just to fight off Marvel. Suicide Squad remains a painful memory in this regard.

At almost three hours, 'The Batman' is a long movie. But the slow burn never bores you or anyone in the movie hall. Pattinson has started coming of age and DC Universe has definitely managed to not shoot itself in the foot.

'The Batman' is definitely a good idea to spend an evening over.