Ravishing sunset cityscapes, Robert Pattinson’s Dark Knight striding out of a telegenic fireball, fights where the only light comes from the muzzle flashes of guns. The Batman gives us Gotham at its most painterly, literally so in the scene where Paul Dano’s Riddler sits at a late-night café straight out of Edward Hopper. Matt Reeves, who directed this latest reboot of an endlessly reimagined franchise, then lifts his camera to show the Riddler’s coffee cup from above, its foam bearing his signature question mark.
There I must stop, because the PR secrecy surrounding The Batman forbids me from talking about a film whose budget is estimated at $100-185 million and whose production and release have been repeatedly delayed by the pandemic. All of the above
