When her roommate and lover, Annika Koslov-whom the Riddler linked to the conspiracy-vanishes, the Batman helps her to investigate, and she helps him to untangle the web of corruption that the Riddler has discerned and capture the Riddler himself. ![]() The Batman is drawn even further into the tangled conspiracy when he accidentally encounters another masked avenger, Catwoman (Zoë Kravitz), who, as Selina Kyle, works in a night club run by a gangster named Oz, who is nicknamed the Penguin (Colin Farrell), and frequented by other criminals, such as a mobster named Carmine Falcone (John Turturro), and corrupt officials. The Riddler has learned that many of the city’s officials, particularly ones involved in law enforcement, have been on the take from gangsters (I’m avoiding spoilers here and throughout) decisions to prosecute are tainted by the self-dealing of politicians and police. ![]() In taunting the Batman by dosing him with knowledge, the Riddler is also making him an unwilling but inextricable ally, both forcing him to join in the same fight and informing him of the underlying and overarching truth about Gotham, about the social order that the avenging masked man is dedicated to defending and preserving. The Riddler gruesomely murders the mayor of Gotham and tapes to the victim’s body a greeting card for the Batman and other clues to his motives and to his next victim-to the conspiracy that he has discovered and the perpetrators he’s targeting. Yet his haphazard thwarting of random street crime in the chaos of Gotham City gets sharply focussed on one criminal, the Riddler (Paul Dano), who, in the opening act of his crime spree, virtually summons him. No such luck: that voice-over might as well be a part of the explanatory press notes for all the insight it offers into the protagonist’s thoughts. The Batman describes his uneasy role as an avenger-indeed, he says, as vengeance itself-in a voice-over that holds out hope that the superhero will be endowed with at least an average level of subjectivity and mental activity. Yet, as he lands on a subway platform and lays low a gang of young miscreants, made up Joker-style, who are assaulting an Asian man, the victim is also struck with fear and pleads with the Batman not to hurt him. The Batman is a vigilante who works with the coöperation of the police, who project a bat-sign into the sky, with a bright light, as a call to him and a warning to evildoers who anticipate him swooping in. It may well win him favor with the studio, with the ticket-buying public, and with critics who calibrate their enthusiasm to box-office success, but it gets in the way of the kinds of transformative interpretations of the characters that would make the difference between a baseline movie and an authentically free and original one. As free as Reeves may have been to make the film according to his lights, he displays an element of custodial, even fiduciary, responsibility. The movie is good with an asterisk-an asterisk the size of the financial interests at stake in the franchise’s intellectual property. ![]() For its first two hours or so, “The Batman” largely fulfills the commitment to be engaging and clever its deftly inventive director, Matt Reeves (who co-wrote the script with Peter Craig), conveys the impression of substance where it’s hardly to be found. ![]() There’s a category of movie that used to be the Hollywood stock in trade, which a dear departed relative used to call “brain cleansers”-one kicks back, the time passes with some rooting interest, some excitement, some curiosity about what’s coming next. It’s cause for modest celebration that “ The Batman” achieves, for much of its nearly three-hour running time, a baseline of artistry: it’s eminently sit-through-able.
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