The Batman Movierulz - Watch The BatMan 2022 Full Movie Review In 3Movierulz: "Fear," Bruce Wayne tells us in a somber voiceover at the beginning of The Batman, 'is a tool.' He's referring to how Batman's presence can be used to intimidate bad guys, but it's also possible that writer-director Matt Reeves has taken this to heart in his approach to reinventing the famous superhero. This is the scariest Batman yet. From the violent opening scene, the message is clear. It's a chilling and furious psychological thriller, with a heavy dose of film noir, and believe it or not, Reeves pulls it off in spades, pulling off a masterpiece of sheer beauty.
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The Batman stands on its own, but it's still chock-full of movie references. Among the movies I thought of while watching it: are Zodiac, Se7en, Chinatown, and Saw. Do you know what I didn't think too much about? In most of the previous live-action Batman movies. Its gritty realism is very similar to Christopher Nolan's trilogy, but this is a refreshing new cinematic take on the Dark Knight.
If anything, his grounded nature is a lot like 2019's Joker. But the difference here is that Joaquin Phoenix's thriller didn't really need the DC villain's name to tell his story of an impoverished man forgotten by society. . On the other hand, The Batman is still a Batman story in a surprisingly loyal way. It draws on various storylines from the comics and remixes them in a bold yet respectful way while being very different from what we've seen on the big screen so far.
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For starters, it's not a Batman origin story. Reeves knows that we know that Thomas and Martha Wayne are dead, and he correctly assumes that we don't need to watch them get shot to death one more time. Instead, he introduces us directly to Batman and Jim Gordon's partnership of vigilantes and detectives. It takes place late enough in Bruce Wayne's story that it doesn't relapse into scenes we've already seen a million times, but early enough that he still has a lot of growing up to do before he's the near-perfect superhero. We don't see the beginning, but we do see a lot of development, as well as some clever calls and additions to the stories of various Gotham families.
Matt Reeves' dark vision for The Batman is apparently very different from what Ben Affleck, who was originally set to write and star in, proposed years ago. Reeves revealed in an interview with Esquire Middle East that he had the opportunity to direct Affleck's Batman movie, which he said was very James Bond, but passed on. "I said look, I think maybe I'm not the person for this. And I explained to them why I love this character. I told them that there have been a lot of great movies, but if I was going to do this, I would have to do it personally, to understand what I was going to do with it, to know where to put the camera, to know what to say to the actors, to know what the story should be."
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In this sense, Robert Pattinson plays a much more vulnerable and human version of the orphaned billionaire than the one we've seen before. With such an iconic role, it would have been easy to copy the many actors who came before him, but Pattinson makes Bruce totally his own. Gone is the convincing illusion of a charismatic playboy that we've seen in previous iterations. Here we have a sad weirdo who is both paralyzed and compelled by his unresolved trauma in a way that is gripping. This Bruce is a broken man, unable to hide his emotions even under his hood. Pattinson's performance, in turn, is crushingly painful, whether he's in or out of costume.
But believe it or not, Pattinson's performance isn't even the second most memorable in The Batman. Those honors go to Zoe Kravitz and Paul Dano as Selina Kyle/Catwoman and Enigma, respectively. The former struck me as an inspired choice from the start, but Kravitz's take on the cat thief exceeded even my lofty expectations. She's got all the cunning and cunning you'd expect, but like Pattinson's Bruce, she's also incredibly vulnerable, while also peddling an insatiable need for revenge. Pattinson may be the one yelling "I am revenge!", but it is Kravitz who is seething with the need for him. Also, the chemistry between the two actors is undeniable. Whether trading fists or information.
As for Dano, his Riddler is easily the best live-action Batman villain since Heath Ledger's Joker. Jim Carrey's take is very, very, very different, and Reeves puts a modern, murderous spin on it that's heavily influenced by the real-world Zodiac killer. Dano immerses himself in this deranged but brilliant killer with terrifying realism. Seriously, Dano managed to give me the creeps with a single eye roll in one scene. Every time Pattinson and Dano face-off, it's impossible to look away.
Colin Farrell and Jeffrey Wright are also formidable as The Penguin and Jim Gordon, respectively, and both are responsible for some very welcome moments of frivolity. Farrell is profoundly unrecognizable as the mobster, and he seems to enjoy himself under all those prosthetics. Wright, for his part, has a nice dynamic with Pattinson, which makes for some of the best detective noir moments. Andy Serkis's Alfred Pennyworth has a different relationship with Pattinson: a fatherly relationship that connects him to the Wayne family roots and gives him an emotional punch when needed.
If that sounds like a lot for a single movie, well, The Batman is three hours long, so you have time. Most of the time it earns that bladder-straining length, though there are moments in the middle where I didn't feel completely attached to the political mystery at its core. But when the story picks up again, it's as if one of the bat's hooks has pierced me and yanked me so hard I didn't even have time to complain.
The last hour makes all that preparation worthwhile with a few big, beautiful, and brilliantly choreographed action sequences. This movie takes a more realistic approach to the fight scenes, and when Batman throws or takes a hit, he hurts. Also, the urban landscape in which it all takes place is darkly gorgeous. If you've seen just about every poster for The Batman, you already know the look that awaits you, which constantly bathes Gotham in a palette of blacks and reds. Cinematographer Greig Fraser's clever contrast of saturation and darkness avoids monotony and keeps us trapped in a Gotham that mirrors other great American cities in many ways, but remains entirely it's own. Michael Giacchino's dramatic score ties it all together, creating epic moments worthy of one of comics' most famous characters.
The Batman, again, is a standalone story and works well as such, but make no mistake: it definitely leaves the door open for a sequel. Maybe that's understating the idea; leaves a hole the size of the Batmobile for a sequel. Luckily, it's a dark, dirty, politically seedy world that I wouldn't mind being drawn into again.
The Batman is a gripping, gorgeous, and at times downright terrifying psychological police thriller that gives Bruce Wayne the grounded detective story he deserves. Robert Pattinson is great as Batman, but it's Zoe Kravitz and Paul Dano who take the cake, with a soulful Selina Kyle/Catwoman and a terrifyingly unhinged Riddler. Writer-director Matt Reeves has managed to make a Batman movie totally different from the others in the live-action canon, but surprisingly faithful to the history of Gotham as a whole. In short, it is a film that earns its place in the legacy of this iconic character.