the mixture with the police

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‘The Batman’, as a good three-hour movie that could perfectly stay in two-odd with some editing and common sense, has plenty of ups and downs in its development. But the final sensation is that this irregularity comes from is experimenting for the first time with relatively new tones, textures and storylines in superhero movies. The final balance is inevitably positive: Pattinson does not always work as Batman, nor do all the plots have the same interest, but a break from the monolithic Marvel style and the excessive show of Snyder’s DC is welcome.

In fact, ‘The Batman’ has in common with other DC movies its purpose of forging an identity of its own that owes nothing to anyone. Same as ‘Shazam!’ It looked like a teen movie from the eighties bathed in a superhero party, ‘Aquaman’ a colorful festival that recovers the most tacky and lysergic of the genre in the seventies and ‘Joker’ an indie drama that pecks with references to the bat-verse, ‘The Batman’ is a dark procedural police where criminals belong to the character’s gallery of villains.

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The interesting part is that this approach is also traditional within the character: Batman was born as an avenger who had his roots in heroes. pulp like La Sombra, and drank from the environments and secondary aspects of film noir, very popular at the time of its creation. The nickname of “The best detective in the world” has always accompanied the character, although it has never been exploited too much in the adaptations (except in the unforgettable sixties television series). And in recent decades, comics like ‘Gotham Central’, with scripts by Ed Brubaker and Greg Rucka, have influenced this vision of the character.

That is to say, Matt Reeves has not revolutionized the vision of Batman, but he has stepped on the accelerator in this sense, making a movie very little concerned with being nice, in perfect opposition to Marvel cinema. Gotham is once again a menacing and perpetually nocturnal city; the villains have no superpowers, but their costumes accentuate deformity and quirkiness; the clues left by Enigma are not simple riddles, but challenges to the detective intelligence of the characters. And of course, the core of the plot talks about bribery, corruption, murder, power, drug trafficking and gangstersin the purest style of film noir.

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‘The Batman’ introduces us to a Bruce Wayne already very much in his role as the long-eared hero, and in constant collaboration with Commissioner Gordon. In this context, the murder of an important Gotham politician occurs at the hands of someone who leaves envelopes addressed to the hero. It’s about Enigma, whose plans soon cross paths with some of the organized crime bosses of the city, as The Penguin, and with a professional thief, Catwoman, who becomes an impromptu ally of Batman.

The film has a series of sequences of notable spectacularity (not too many: ‘it has much less action than the average superhero movie, just three somewhat longer scenes and some quick fights here and there, which justifies its PG-13 rating . But the plot recounted above unfolds as a dark ‘Seven’-style procedural. Only one of the detectives isn’t wearing a trench coat and smoking nonstop, instead he has a utility belt and a mask with ears. That is to say: interrogations, rotating suspects, twists with each discovery and an extremely sordid setting.

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The idea is great, but it doesn’t always work out perfectly. The plots of the Penguin, for example, they are superficial and the character is barely developed, their role could be covered by any boss of the underworld. Robert Pattinson – paradoxically – works in the action sequences, but not so much when he tries to inject some sensibility into Bruce Wayne. And the plot isn’t really that complicated to justify all the twists and turns the characters take. And the final stretch, which we will not reveal here, is very disappointing.

But from ‘The Batman’ you have to keep what works best, which is a lot: the dark and extremely serious setting (although it is missed, why deny it, the buzzy relationship that Batman and Catwoman have always had); the idea of ​​turning the character around and returning him to his detective foundations, leaving aside his face as an action hero; and the search for alternatives to a genre, the superhero, which has enough faces so that each film is a world, but that for some time now is not characterized by its daring. For that alone, ‘The Batman’ already deserves a considerable dose of attention and affection.

‘The Batman’, as a good three-hour movie that could perfectly stay in two-odd with some editing and common sense, has…

‘The Batman’, as a good three-hour movie that could perfectly stay in two-odd with some editing and common sense, has…

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