It will be shown on IMAX on Thursday and in all cinemas on Friday – it’s a big risk and the safest bet you can make in Hollywood. The latter, because it is a film about one of the most popular comic book characters of all time.
He became so popular that even a few years ago, an irresponsible film about his main enemy earned more than a billion dollars at the box office. The first is that I remember Matt Reeves, the director and co-writer of Robert Pattinson’s “Mr. Cake” directed by Mr. Emma, making Batman more obscure than Zach Snyder’s, and more obscure than Christopher Nolan’s trilogy. One of Batman’s sequels: The Arkham Games and Frank Miller’s graphic novels, “Batman: The First Year” and “The Black Knight Returns.” As Reeves promises, “Batman” is a psychological thriller directed at a neo-noir detective about the Crusades, sometimes more than the action dramas in other Batman movies. In fact, Batman doesn’t feel like a comic book for long.
This will be a blow to an audience that trades in the established and accepted way of approaching superhero movies, prepared on the tariffs of Marvel, Sony and DC. I can imagine some people saying, “I didn’t sign up for this.” This is bold for both Reeves and Warner Bros. Verbally, Batman can intimidate producers, alienate authors, or encourage studios to allow cinematographers to turn these decades-old characters on their own, instead of forcing them. Each director corresponds to the shape of the cookie cutter. To be fair, Warner must have known why Batman was written. After all, Reeves is responsible for two parts of the greatest film trilogy of the last decade – the reloading series “Planet of the Apes”, which ended with a chapter on the weight of revenge and responsibility, portrayed in a biblical dark pessimistic style. Although Batman explores some of these topics, it is much more grounded. It is said that it works in a similar mood – with a muted color palette. I remember Batman was mostly made up of different black colors, as well as white and yellow lights. Oh, it was all wet – 80% of the scenes were rainy in Gotham. Cinematographer Greig Fraser (Dune, Zero Dark Thirty) gives his talents.
Justice League Snyder Cut Review: Too Ambitious, Strange and Pleasant But unlike “War for the Planet of the Apes”, the direction and work of the moody atmosphere is much better than the drama of the characters, where Reeves worked with Peter Craig (“The City”, “Hunger Games: Humor – Part 2) – leaves. There is a lot to want. Batman loses a joint at the end of the second act and cannot fully recover for the third and final act. With 176 minutes of punishment time – it’s the longest Batman movie of all time and the third longest superhero after Zack Snyder’s Justice League and Avengers: The End of the Game, both of which are team adventures – I’m afraid of the audience. The feeling of cheese. Batman starts out interesting, promises him a lot, and eventually wastes his potential.
At first, it is clear that Batman wants to move at his own pace. The scenes take their sweet time – the DC movie covers only a week of Batman’s life, the story begins on Halloween and ends a week later – because everything is done methodically and nothing is rushed. This is the main reason why he works for about three hours. Reeves invites you into his world and asks you to stand up and ask him to trust you to accompany him. It’s Batman through Blade Runner 2049, but it’s never hard. But like Denis Villeneuve, Reeves sets a great melody – his Gotham is not full of dirt, it has layers. And the director Batman understands how to do something scary, scary and scary. Use of sound. People pay so much attention to visuals when making movies that they forget that they are half the sound. We first meet Pattinson’s Batman through the sound of his walking – the sound of his heavy boots hitting the concrete. (Technically, we hear it first by voting, and I can’t fully agree with it.) This film is defined by the liberal use of the theme and soundtrack of composer Michael Giaccino’s “Batman,” which greatly helps Reeves achieve his goal. to do. Giaccino’s score is based on the psychological suffering of a guard acting in the shadows. And during action scenes, it feels simple and straightforward in the tools it uses.