The Batman

Operatic, simmering, and replete with a smoky noir atmosphere, The Batman is an enthralling package of contradictions.

The film I imagine Ricky Fitts would grow up to make after the events of 'American Beauty.'

What this film does achieve, however, is telling a solid new Batman story, one with some pretty compelling twists and a strong point-of-view on who, exactly, the Caped Crusader is. By default, that makes it one of the better Batman movies ever made.

Ultimately, this Batman accepts the thankless, death-defying role he’s stepped into, and the sacrifices that go with it. But that choice would be more compelling if it weren’t framed as a tacit acknowledgement of all the inevitable sequels to come...

The movie’s inability to imagine its superheroes and supervillains with any meaningful psychological identity is of a piece with the failure to imagine ordinary people with any degree of individuality.

It’s not too surprising that this is Reeves’s film, since the recent Planet of the Apes trilogy is among the most rich, complex, and well-crafted franchises in cinematic history.

The way that everything is spliced and shaken together, and the mood — and it's definitely a mood — makes this weighty, heavy, sublimely shot, excellently cast, always-engaging blockbuster feel new, and all things Batman with it.

THE BATMAN shows that even the best intentions may inspire mayhem, cause heck this is Gotham.

And even though at times the movie seems a little too male-centric, in times when this is almost prohibited, it felt good to feel those testosterone punches in such a quality, entertaining film. [Full review in Spanish]

How many times can this story be told? Next time pray that the filmmakers aren’t this self-serious about their own vision and that the running time values your time outside of Gotham.