The Batman: Hurawatch

The Batman: Hurawatch

Blog Article

Just like every detective superhero “The Batman” knew how to touch the six essential marks of a superhero movie, a motorbike Batmobile Batman suit and most importantly – gadgets. By Alfred a.k.a. butler. In short, the Caped Crusader is no different.

He continues to brood and seeks his own ‘justice’ in Gotham City which is chronically spiraling into decay. Bronx based performance artist portrays a man-o-drama on a Gotham-dive.

In Reeves’ confident hands, everything is different and he breathes new life by making necks spin. As a co writer and director, he has managed to give a simplistic overture a chorus of endless cello. Imagine “Batman” in the style of a 70s crime drama instead of a blockbuster film solely for entertainment purpose and you would be spot on. The latter type is the more reflexive claim.

Through frenzied drafts and unrehearsed collaboration, you can summon some of the greatest hits of action such as the Warriors and mythical French Connection. With numerous headline controversies driving the plot, “The Zodiac Killer terrorizing citizens of Gotham” becomes a re-evaluation of sociological boundaries- question everything.

Even with its touchstones, this is a Matt Reeves film unmistakably. Just as he did in the heart-pounding “Planet of the Apes” films, Reeves here achieves a spectacle that is wildly entertaining while still being emotionally unrestrained—grounded in reality. Contrary to how many superhero films try to poke fun at pop culture, this is a Batman film that recognizes its setting. This film observes, but does not passively accept, the character’s history, transforming it—and doing so in ways that are significant and bold—rather than molding it into something else. As scripted by Reeves and Peter Craig, this hero is forced to confront his history, purpose, and identity, providing us as viewers an opportunity to examine the narratives we cling onto in our lives.

From the moment Robert Pattinson was selected to take on the role of Bruce Wayne, it was clear he was ready to wholeheartedly embrace the character's dark and peculiar tendencies. This isn’t a charming, spoilt billionaire zooming around in his Bat costume, fighting crime. This is Bickle from Taxi Driver, detached and disillusioned. He’s in his second year of being Batman, tracking criminals in Wayne Tower—a brilliant change from the sprawling Wayne Manor that suggests even greater societal isolation. “They think I’m hiding in the shadows,” he says in a prologue voiceover. “But I am the shadows.” Pattinson looks like an hungover indie rock star in the daytime. We all know the thrill he gets from swooping in at night and carrying out his version of vengeance, even if he’s covered in tactical gear and eye black.

Since Pattinson's portrayal of Edward Cullen in the series "Twilight" (which catapulted his global fame in 2008), he has been working with singular auteurs like David Cronenberg, Claire Denis, and the Safdie brothers. It seems as though he performs better when cast in roles that make audiences unconformable, further driving this point home is his performance as batman; I would say he outdoes Christian Bale when it comes to making his features appear unsettling. It cannot be denied that there was a magnetism when the stunning Zoe Kravitz made her grand entrance as Selina Kyle. The way she sizzled into her leather motorcycle outfit and slinked down the fire escape aimed at tackling justice at night was electrifying.

The chemistry between Pattinson and Kravitz is jaw dropping. Kravitz is his equal in every sense. The portrayal of Catwoman does not focus on the flirtation, rather, we see a strong fighter with a survivor past and an undying sense of loyalty and moral clarity. As the former metion Kravitz's performance on Steven Soderbergh's "Kimi" showcases the fierce charisma and strength she brings.

Watch More Movies on Hurawatch

She is part of a supporting cast which includes Oswald Cobblepot, a dishonorable Penguin. Together with Paul Dano, who plays The Riddler, the lineup is stellar. Dano delivers bone-chilling performances, serving as the story’s backbone. Jeffrey Wright provides a morally sane check, serving as Gordon. It is refreshing when John Turturro performs with a calm killer side as Carmine Falcone, allowing us to appreciate Dano’s character as a terrifying yet masterfull portrayal of insanity.

Those who watched Reeves’ Apes movies are familiar with Andy Serkis, who plays Alfred, the warmth exuding father figure. Farrell’s change into a sleazy villain is astonishing and portrays unrecognizable talent. Astounding Cobblepot also adds spice to the culinary ensemble. It’s Dano though, who captures your attention, evoking thoughts of a man truly shattered. In his approach, he draws lines too far, like in Blood, but I find that praising him. His over the top approach will be sure to crack some audiences up, albeit only to break the unbearable tension he creates.

Sure, “The Batman” isn’t the most cheerful movie ever, but it does have entertaining scenes throughout. Even at almost three hours, which is too long, the movie is viscerally gripping from the start. The Batmobile, which is featured in one of the adrenaline-filled scenes, is unrivaled. The massive car that hails from “Mad Max: Fury Road” is a gentle-hearted muscle vehicle. The egregious car chase followed by a chain-reactive crash capped off with a fiery explosion that, at best, can be described as apocalyptic, had me jaw-dropped in my screening. During the pumping nightclub scene filled with neon red lights, every punch and kick thrown is a cinematic experience in itself. Witnessing the hero before he conquered all brought something new to the genre, because he gets knocked out by every blow. Equally dazzling and harrowing is the shootout in a corridor devoid of light, only accessible by the muzzle flashes of the shotgun. Powerful scenes like these are enhanced by the music created by legendary composer Michael Giacchino. He is known for composing music in Pixar films, but takes a totally different approach with “The Batman.” It is strong and demanding, filled with percussion and horns, and will be felt deep within your body.

Employing top-of-the-line artists and craftspeople, Reeves has completed a movie that is at once ethereal and weighty, substantial yet impressionistic. Greig Fraser, the cinematographer, works the same type of stunning magic as he did while nominated for an Oscar with his work in Denis Villeneuve’s “Dune”: The pouring neon rain in Fraser’s imagery dances with both gauziness and heft. His shadow and silhouette work is phenomenal; doing so much to create tension and foreboding. I could write an entire, separate essay on the red in the film and how it suggests energy, danger, and even hope. With Jacqueline Durran and Dave Crossman alongside Glyn Dillon, who designed Pattinson’s rough-and-tumble Batsuit, the costume design for the movie added the right finishing touch to the film’s cool, edgy vibe.

You wouldn't believe this is the most beautiful batman movie you’ve ever seen, even if it's not exactly a batman movie.