Denis Vilenkin managed to see the film and believes that the image did not work. Because - he explains.
A few days ago, we reviewed this movie under the name "The Batman" on our DzairFlix website. Read this review.
Everything is quiet in Baghdad, but not so much in Gotham. The scum, represented by the Joker, terrorizing civilians, the city is experiencing a wave of mysterious murders of high-ranking people. Mysterious, because in each scene, Police Commissioner Gordon (Jeffrey Wright) is confronted with a riddle that he himself does not understand. So he seeks the help of his partner Batman (Robert Pattinson), whose puzzle is much better. Responsibility for the murders is assumed by Streamer Enigma (Paul Dano), dressed more or less like Kanye West: with a khaki down jacket and a latex bag over his head. The Internet warrior's fan base is growing, and even the city's worst criminals are afraid of him: crime king Falcone (John Turturro) and his right-hand man Penguin (Colin Farrell, unrecognizable in his makeup).
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"Batman" tells the story of how DC and WB studio bosses came to believe that serious comics are the right vehicle for the studio after the success of the serious, adult Joker and the failure of the studio's version of the Justice League mockumentary. The problem is that what has unfortunately become a shenanigans business for soaps. Ben Affleck, who was originally going to direct "Batman" with himself in the lead role, also wanted to make a serious film in the spirit of the Detective Comics series. The action in his version was to take place in Arkham Asylum with the villain Defstroke, played by Joe Manganiello (who just appeared in "The League"). But a good version of "League," titled "Zack Snyder's Justice League," came out too late, Affleck had already resigned as director, disillusioned with superheroes, the old script was dropped, Matt Reeves ("Monstrous," "Planet of the Apes: War") was hired to direct, and Robert Pattinson, very, if not uncharacteristically as Batman, was called in for the lead role. Moreover, the performances (and it should be noted that there are many: here is Paul Dano, again selflessly playing a desperate madman as in "The Prisoners", and Colin Farrell, hidden under tons of plastic makeup, and Zoe Kravitz, elegantly leaping over the rooftops in the image of Catwoman) the merits of the film are running out.
The film begins as a movie about a handsome nihilist, desperate with loneliness and melancholy, who sees his mission as protecting the city. Halfway through the first half-hour, Pattinson plays Christina Ricci from Prozac Nation, Kurt Cobain and Brandon Lee from The Crow. A rocker without a guitar, a cold-blooded sentinel who forgot to smile and doesn't come out into the daylight, as befits a bat. Somewhere near the end of the first hour, the amount of jokes and unassembled episodes begins to tire, while the film itself steadily moves forward like the Batmobile, speeding along at a very serious pace, singing in Batman's emotionless voice phrases from Rorschach's arsenal in The Guardians: I Follow the Shadows! In the background is Something In The Way, a Nirvana-style track by composer Michael Giacchino, which plays in different keys. Overall, it's so dark and modern that it makes you want to grab the light switch, turn on the light and walk out of the theater.
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Rumor has it that in order for the film not to be rated R, it was heavily skinned, which the film did not like at all. Because a movie about a psychopath who is himself not far removed from Joaquin Phoenix's Joker (who is the one Pattinson plays) can't be strong, funny, real, if the three-hour running time doesn't mask the personal dramas of the characters, but only occasionally brings the average background detective to life. And such a film loses both Nolan's concepts in his trilogy and Zack Snyder's vision of the universe. An "adult" film can't work with characters that are "childlike" enough for the average theatrical blockbuster. Nolan emphasized psychology and anti-capitalist pathos, Snyder dispensed with mythology and religious prototypes, and both introduced humanity into their vision of the Disish universe. Todd Phillips, in The Joker, even made the origins of Batman's main antagonist a film about a small man in difficult, if rather barren, circumstances, but also about humanity. This is also the case, in my opinion, with the wonderful pure DC superhero films of recent years. "Birds of Prey" illustrated the story of Harley Quinn's breakup with the Joker, while "Wonder Woman 1984" told a beautiful love story in the genre of the fairy tale, not less beautiful than "Batman", certainly, but also witty, intelligent and funny.
The same is true of Matt Reeves' Batman: superheroes and villains are once again stripped of their human qualities and turned into functions. Reeves hangs on to his last breath to avoid falling into self-parody, as there is no second story behind the heroic pathos, but he is more concerned with his visual fetishes - a washed-out photo, rain and the red glow of a torch - as Batman-Pattinson plays three hours of "What? Where? When?" It's not bad, rather nothing. And it seems, after all of Batman's big-screen appearances, to be the first non-author film to appear, jokingly, right after the most in the conventional sense of author, if you count The Joker and his Venice as such. After Tim Burton's Macabre, Joel Schumacher's gay eccentricity, Nolan's philosophical, with nods to Hesse and Nietzsche, and Snyder's best Batman story, in my opinion, about a billionaire who decides he can play God, Matt Reeves offers this for us to believe: emo makeup that perfectly showcases Robert Pattinson's perfect cheekbones is good enough for a dark Batman story. It doesn't work that way.
