Murphy's Multiverse

Tag: Batman

  • REVIEW: ‘Batman Begins’ Made Everyone Take Superhero Movies Seriously

    REVIEW: ‘Batman Begins’ Made Everyone Take Superhero Movies Seriously

    Batman Begins kicked off Christopher Nolan’s Dark Knight Trilogy, which has gone on to become an integral part of the world’s conception of not only Batman but also superhero movies in general. While debuting in 2005, Batman Begins is a far (at least 4,350 miles) cry from the last Batman flick—1997’s critical Titanic Batman & Robin. While Batman Begins no longer feels like anything particularly special, there is no doubt that it ushered in an era where superhero movies are taken seriously, both by critics and broad audiences. 

    The production value of the film is off the charts. Seventeen years later, it still feels natural to watch and does not struggle too much with outdated visuals or storytelling. Helmed by 11-time Academy Award winner and acclaimed director Christopher Nolan, it is obvious that the film’s baseline quality was one of the most important characteristics of Batman Begins. This next paragraph is about to be obnoxious, but it makes a point. 

    The movie stars Academy Award winner Christian Bale as the titular Batman, Academy Award winner Michael Caine as Alfred, Academy Award winner Gary Oldman as Commissioner Gordon, Academy Award nominee Liam Neeson as the villain as Ra’s al Ghul, Golden Globe nominee and the guy with the super intense eyes Cillian Murphy as Scarecrow, and Academy Award winner and global treasure Morgan Freeman as Lucius Fox. Batman Begins is scored by Academy Award winner and legend Hans Zimmer, and the Batsuit was even designed by Academy Award-winning costume designer Lindy Hemming. These likely only scratch the surface of the level of talent brought in for Batman Begins and The Dark Knight Trilogy. 

    Aside from the output quality, the story comes across quite differently than most—if not all—superhero movies to come before the film. The focus is on Bruce Wayne himself. His own personal demons and battles drive the narrative rather than fantastical, caricaturized, and shallow shiny-costumed heroes or villains. Rather than the adversary being campy or corny villains taken straight out of a classic comic book, Batman’s fight is ultimately against the manifestations of long-lasting systemic crime in Gotham City. There is an element of realism in Batman Begins that frankly did not exist before in the cinematic genre. The film takes its time—albeit a lot of time—to try and explain Bruce and his origin like a fully-established character. We are not just given the Bat. We have to earn the Bat. 

    Batman Begins is certainly not perfect. Watching it now, it can be rather dull and boring at times. While systemic crime is the real culprit, a somewhat messy mixture of Ra’s al Ghul, Scarecrow, and Carmine Falcone make up the individual villains. Because each is diluted, none have the presence of an actually foreboding villain, but the combination and realism influence gives the movie more of its well-rounded and structurally-solid qualities. One thing that the movie provides that was surprisingly refreshing upon re-watch is the steady building of Batman’s arsenal. As far as previous Batman movies are concerned, Batman already existed and had his awe-inspiring collection of gadgets, gear, and Batmobiles. Here, watching it all play out with genuine attempts at describing how Batman’s stuff works is nice. 

    At the end of the day, Batman Begins feels now like an overtly middle-of-the-road, standard high-quality superhero movie. With its level of realism, it honestly simply feels like a “not bad” general action film. Still, the fact that the quality of Batman Begins is now something ordinary to talk about in the genre is something taken for granted now. As another reminder, Batman & Robin was released only eight years before Batman Begins. Now, the internet goes insane over a 4-hour, black-and-white director’s cut of a superhero film fans felt let down by, and perfectly OK Eternals is absolutely slammed for each and every potential weakness because it touted itself as being both “cinema” and a superhero movie. That type of discussion only exists because of the legacy and influence of The Dark Knight Trilogy, which in turn came into existence with Batman Begins. 

  • REVIEW: ‘Batman & Robin’ Is a Masterpiece If You Have Taste

    REVIEW: ‘Batman & Robin’ Is a Masterpiece If You Have Taste

    The fourth and final film of what was originally the Michael Keaton-led Batman franchise is famous for being a disaster. Twenty-five years later, the 1997 Batman & Robin is still looked at as one of the worst – if not the worst – superhero movies of all time. Countless things are wrong with humanity, but this might take the cake. Batman & Robin is, quite possibly, one of the greatest films the genre has ever produced and easily one of the most enjoyable things one could possibly do on a Wednesday night after a bottle of wine. I have no problem comparing it to The Godfather or Citizen Kane, maybe because I haven’t seen them. But I can say for certain that Batman & Robin is a cinematic masterpiece for anyone with taste. 

    Batman & Robin doesn’t mess around – it is about Batman & Robin. George Clooney’s Bruce Wayne alongside Chris O’Donnell’s elderly Dick Grayson is a masterclass in the exploration of complex character relationships. From the moment the Batman & Robin logos form a bond in the opening credits, the movie screams “two’s a party, but three’s a crowd.” It is incredibly weird and uncomfortable that the two of them spend most of the movie fighting over Uma Thurman’s Poison Ivy, especially considering Robin is supposed to be…a kid? Realistically, that man looks 57-years-old, so this secondhand embarrassment of a dynamic is a little less creepy. Not really. But this nails-on-chalkboard-adjacent feeling is one of the many unique experiences on the emotional tapestry that is Batman & Robin.

    Otherwise, Dick spends the film in either adolescent angst or midlife crisis demanding respect from the man who brought him straight home after witnessing the deaths of his entire family to throw him in a suit with detailed nipples and give him a moped instead of Batmobile. To be fair, considering he could be 74-years-old, it is hard to blame him for being angry that he is treated like a child. But still, much of his motivation to stray from Bruce revolves around their shared interest in being erotically murdered by Poison Ivy without consent. Is there any better way to show that two men can have an emotionally close and healthy relationship than to bond over the downfall of an attractive evil woman? No.

    Past that, whatever train wreck Poison Ivy was is better left mostly unacknowledged, among others (Bane). The real villain of Batman & Robin – the future governor of the State of California when it was filming – is, of course, Arnold Schwarzenegger’s Mr. Freeze. There is so much to say about the guy, but it’s pretty simple: he is great. He looks amazing – even if his personal traveling hockey team is less impressive – he only speaks in ice pun so that you don’t forget he has ice powers, and his background motivation is relatively fleshed out (his wife is floating in a tube). Mr. Freeze (and Poison Ivy as well to be fair) has global-destruction-level ambitions. It is not entirely clear why someone trying to reverse climate change on the entire planet has such a Gotham fixation, or why the New Jersey National Guard never gets involved when the City is constantly overrun with overindulgent mass murder with no defense but squabbling homoerotic father-son rubber-suited bird people.

    At a certain point, you realize that Alicia Silverstone’s Batgirl/Barbara Gordon is also in the movie. She is not necessary. None of this is strictly necessary, but anyone watching Batman & Robin is just trying to be involved in a Mr. Freeze/Poison Ivy/62-year-old Robin plot smoothie. Frankly, no one cares if she breaks out of a mansion to go street racing or soul-crushingly guesses passwords to top-secret information given to her by Alfred: “ALFRED”. She also ruins the “three’s a crowd” analogy because the moral of the story is apparently that three makes a happy Bat Family, but getting into “keeping it in the family” is maybe too much right now.

    Batman & Robin does give a touching ode to Michael Gough’s Alfred, the only consistent part of the four-movie franchise. Gough is basically the only person who was willing to see Batman all the way to the end. Even when you said, why is Batman fighting penguins? Gough was there. Even when you said hey that’s not Michael Keaton .. or Val Kilmer! Gough was there. Even when you said why is Robin 47-years-old? Gough was there. 

    I know what you’re thinking. Why am I reading this review at all? More importantly, how has this gone on so long without mentioning how Batman & Robin sparks more joy than Marie Kondo could even dream of? If you cannot enjoy nature or tents, or fires, or nights, then yes, Batman & Robin – the campiest piece of media that has ever been produced – is probably extremely painful. I wouldn’t know, because even though I’m normally not the biggest fan of camp, I have never laughed so hard in my life as I did while watching this movie, and it is the most fun I’ve had with a movie in a long time. When I said this movie was for people with taste, I meant that anyone who can laugh alongside this movie is in for the time of their life. 

    Every single frame of Batman & Robin is cornier than 300 dad jokes combined. It is entirely consistent, and it has no crisis of identity. Everything matches. The sets match the costumes which match the characters which match the dialogue and on and on. There is no way in Mr. Freeze’s frozen hell that it is unintentional. The dialogue and delivery throughout the film are also the worst and corniest you can possibly come by. You have to work hard to stay at O’Donnell’s impressive level of convincing the audience this is the worst acting they have ever seen. 

    The only tragedy of Batman & Robin is that it can’t be summarized coherently. It just absolutely makes no sense but in the best way. Poison Ivy dressed as a gorilla does a sexy dance 20 feet in the air at a benefit where costumed Batman and Robin are acting as props to a crowded auction that they intentionally lured a mass murderer (the sexy gorilla) to. The action level in this movie compared to its predecessors is off the charts. The Dynamic Duo flies around in ways that make Olympics gymnastics look like walking. At one point, they surf the air. Not much to add to that. Robin is 49-years-old, and he owns it. There are gender-neutral but extremely aggressive closeups of Bat people putting on their suits. I would say you can’t make this stuff up, but clearly, someone already did. And for that we give thanks. 

    True, director Joel Schumacher has indeed publicly apologized for how bad Batman & Robin is. And listen, if you want high-quality cinema, character development, storytelling, dialogue, or logical thinking, look elsewhere. This is not for you. It will probably always be a mysterious and unhygienic-looking cocktail of joy, but it is pure joy if you have a taste. Were the 1990s hard on Batman? Sure. But Batman has his 56-year-old Robin by his side and if that doesn’t make you smile, nothing will. 

  • REVIEW: ‘Batman Forever’ is Still the Horniest Bat-Film

    REVIEW: ‘Batman Forever’ is Still the Horniest Bat-Film

    Of the countless adaptations to come out of the Batman mythos, Batman Forever has always been the hardest one to pin down. The film, released to financial success and critical failure in 1995, never really managed to obtain a solid identity. While Tim Burton‘s prior films were clear in their aspirations of a darker tone, and franchise follow-up Batman & Robin was infamously committed to being a real-life cartoon, Joel Schumacher‘s first venture into superhero movie making was a little less defined.

    As a result, the movie has become somewhat of a “forgotten installment” in Batman’s cinematic history. Not as silly as its sequel, but still a far cry from the graphic material of its predecessors. It’s likely that this is the reason many have failed to remember the crowning achievement of Forever, rising to claim a title that has yet to be truly challenged. It can be argued that the film does indeed have an identity and one that makes it very special. To this day, there has never been a hornier Batman movie.

    Yes, I have seen Batman Returns. I am very aware of the tension Michelle Pfeiffer brought to the table and the sparkling chemistry she shared with Michael Keaton‘s Bruce Wayne. Trust me when I say, after back-to-back viewings of both films, that Forever earns this honor just a little bit more. Before I get to dive into why it should be clarified that I actually think Val Kilmer‘s one-and-only romp in the Bat-suit is an all-around much better film than it gets credit for.

    It seems audiences found it fairly easy to dismiss the project when it came on the heels of the excellent Burton installments, flagging it as a waste of time and moving on rather quickly. However, this ousting does not take into consideration any of the reasons the movie is how it is. After the wildly adult themes and imagery of Returns, Warner Bros. wanted a threequel a little closer in tone to the campy adventures of Adam West‘s Caped Crusader and a little further in tone from the Creepshow vibes of Danny DeVito‘s child-murdering, potato-sack wearing Penguin. Conflictingly, the studio also still wanted the movie to be in line with the world established by the previous entries.

    Honestly, with these goals in mind, Schumacher no sort of nails it. Forever is the perfect mix between West and Burton, with goofy surrealistic villains and over-the-top character archetypes stirred into the established pot of gothic neon gravitas brewed by the first two films. Despite Chris O’Donnell’s Dick Grayson mostly being the worst character on screen at all times, his scenes with Kilmer surprisingly make for some of the more earnest Bruce Wayne content caught on camera.

    Though often a bit on the nose, Forever takes its look into the psyche of Wayne seriously, giving fans both sides of his coin in equal measure. Speaking of which, Tommy Lee Jones‘ Two-Face and Jim Carrey‘s Riddler are maybe better antagonists than you remember. They’re not really threatening, and both are basically just new skins for the Joker, but it is immensely comical to watch them chew up screen time. The laughs don’t always come when the script might have intended, but they will come.

    The emotional crux of the film is where we re-enter horny territory. Again, this is a movie that hopes to explore the duality of Bruce Wayne and the Bat. The title itself comes from a line in the film in which Wayne declares that he’s accepted his demons and chosen to be “Batman forever“. It’s just the way the story decides it will demonstrate this is questionable at best, or not to be questioned at all, depending on your configuration.

    Bruce is forced to confront the longevity of his double life when he meets Dr. Chase Meridian, played by AMC spokesperson Nicole Kidman, and realizes how badly he wants to get laid. The problem is that, while Dr. Meridian also wants this, she is far more interested in the mystique of Batman than any amount of charm or money Wayne can throw at her. What comes of this is an enthralling cat-and-mouse game of two people with deeply rooted psychological issues and massive libidos. I’m no professional, and I can’t diagnose why this is true, but something about this conflict is far raunchier than anything Batman and Catwoman are able to muster up in the preceding entry.

    Literally every single scene Kidman is in, features her trying to seduce Batman, or to a lesser extent, Bruce Wayne. All of them except for when she becomes a damsel in distress; an unfortunate consequence of being a movie made anytime prior to the last five years. It doesn’t stop there, either, as several of the other characters get in on the fun before credits roll. A not-so-keen eye will notice that Carrey wears tighter clothing each time he’s on the screen. He also becomes less aware of personal space and a lot more mindful of how attractive everyone else is, something he comments on frequently.

    This is another spot where I should stop and remind the reader that I do not think this is a bad attribute. In fact, it feels pretty at home in the context of the vibe. Even the typically staunch Jones has populated his elaborate lair with sexual energy. Although the moral ramifications of his keeping two mistresses, each scantily dressed to represent one side of his personality, probably should be debated. I digress, it furthers my point.

    Batman Forever just captures certain erotic magic that no other comic book film has come close to matching. Both the title character and his youthful sidekick are adorned in stiff costumes, with chiseled abs and nipples added for flavor. It’s worth noting the latter detail would be more questionable if the teenager wasn’t played by a 25-year-old man. Batman & Robin tries to bring the energy back with Uma Thurman’s Poison Ivy, but a lack of chemistry or wanton desire prevents any attempt from hitting home. Matt Reeves’ The Batman is making a strong case for itself as a contender, with certified heartthrobs Robert Pattinson and Zoe Kravitz producing steam through the screen, but it remains to be seen if they can conquer the mountain ahead of them. At the very least, until March 4th, Kilmer will remain the most indisputably aroused Batman.

  • REVIEW: ‘Batman Returns’ Could’ve Used More Batman

    REVIEW: ‘Batman Returns’ Could’ve Used More Batman

    Tim Burton‘s return to Gotham City was surely going to be bigger than before, as his notorious gothic style might get more focus this time around. His work on the first brought the Caped Crusader and the Clown Prince of Crime to life, especially with Jack Nicholson’s performance as the Joker quickly becoming a cultural icon. Even in its sequel, Batman Returns, the villains are its crowning achievement that often overshadows its titular protagonist.

    Throughout the first hour of the film, the main character is barely in it, as we spend most of its runtime setting up its main foes, Catwoman and Penguin. While the setup is well done, it’s just a noticeable absence and feels more like we’re walking into a Catwoman film than we are one focused on the titular Caped Crusader.

    While what we do get of Keaton throughout the film is an interesting duel of identities, the antagonists just outshine him. The standout performance and possibly one of the best in a comic book film belongs to Danny DeVito’s Penguin. He could waddle around without saying a peep, and still speak a thousand words. His work as the character is deliciously repulsive in all the right ways. It is a much more feral take on the character but DeVito shines with his barbarous line delivery even rising from the sewers beneath Gotham City. All of this is hiding a man desperate of reclaiming what he feels owed. It is also implied that Penguin is only 33 years old so take that into consideration if you ever debate living under a zoo.

    Along with Penguin, we see a bit more of a wild and untamed take on Catwoman. Probably the weakest part of this character is her origin. She simply gets pushed from a window high up and resulting in a few screws knocked loose. Next thing we know, she’s running around in a noticeably DIY leather suit whipping it like a Devo song. Once we get to spend time with Catwoman, Michelle Pfeiffer does indeed shine in the role and her chemistry with Keaton‘s Bruce Wayne is undeniable. They are perfect parallels of each other throughout the film.

    Probably the weakest villain in the film is Christopher Walken‘s Max Shreck. His main function is to create the film’s actual antagonists and is then quickly overshadowed. It makes sense, as they are infinitely more interesting than the dude who looks like he stuck a fork in an outlet. His whole shtick at the beginning of the film is getting his capacitor built to store Gotham’s energy, but it’s quickly abandoned once the film realizes who is way more interesting. There definitely could’ve been better ways to push Selina and Oswald in the right direction without Shreck taking up as much screentime.

    As mentioned previously, one of the film’s most underutilized elements is its titular character. The problem is that Batman feels more like a supporting character in his own film. It’s a waste of Keaton‘s talents who is not only a great actor but someone who nailed both personalities of his character. It would’ve been more beneficial for the character and his relationship with Selina Kyle if they played more into his inner conflict with Bruce Wayne being the real mask.

    What is worth praising is this version of Gotham. It still remains one of the best adaptions of the fictional city. You can see Burton‘s influence in the set designs with his Gothic background clashing with the comic roots of the city in the best way possible. Even if the city is dark, it is very much alive and full of interesting characters. It was always meant to feel at odds with its aesthetic and the people that inhabit it.

    Batman Returns is a solid film that’s provided some iconic performances from DeVito and Pfeiffer. That mixed with some beautiful set design and costumes just offer a unique experience. The film has its problems and but you’ll spend too much time focusing on the parts that are good because they’re just so attention-grabbing. Sadly this was the last we saw of Burtons‘ run in Gotham, but it won’t be the last time we see Keaton in the role, as he’ll put on the cowl once again in the DC Extended Universe’s The Flash.

  • REVIEW: ‘Batman’ is a Love Story for the Ages

    REVIEW: ‘Batman’ is a Love Story for the Ages

    The Batman‘s release is just around the corner, and it seemed fitting to take a look back at the many films that defined the character on the silver screen. So, welcome to our latest review-a-thon revisiting the Caped Crusader’s cinematic history. To kick it off, you can’t really talk about the franchise without mentioning Tim Burton‘s 1989 film simply titled Batman. Even back then, people doubted Michael Keaton in the titular role, but he would go on to define not only his career but also comic book history by bringing the character to life. Later this year, he’ll even return in the role for a new generation to meet THE Batman that defined many people’s childhood. Yet, after over 30 years, does the film still hold up, or is it hiding behind a Gothic mask?

    After rewatching it, I’ve remembered that most of the main plotlines of this story surround Vicky Vale. Not only is Bruce Wayne strangely obsessed with her, but even the Joker has a liking to the young reporter. He ends up ditching his romantic interest, who he uses for questionable experiments, as soon as she catches his eyes. Wait, that’s not even it, as her reporting partner, Alexander Knox, seemingly you – guessed it – has a crush on her. This rhombus of a love triangle permeates throughout the entire film, it makes you wonder why they didn’t have Bob join in just for the hell of it. Though that’s the same guy who thought a dude in a rubber bat suit had a wallet on him somewhere; he probably has other worries at the time.

    But you can’t forget that Bruce Wayne, the moment he sees Jack Napier return as the Joker, just wanders around starring at him. While I know Jack Nicholson‘s performance is mesmerizing throughout the film’s runtime, he already saw the guy earlier when he threw him into the vat of whatever can turn a man into the human equivalent of an eggshell. So, either he just really loves clowns, or it was love at first sight. He is the greatest detective after all. So, he must’ve known that quietly following a murderer – in broad daylight mind you – won’t get him killed but a flirty wave goodbye. The moment Vicky steps in, he just bolts without a word. If you ask me, that’s suspicious.

    The more I think about it, was the line “let’s get nuts” bit more a test. I mean, Joker goes on to pull off the line “never rub another man’s rhubarb” and the whole room really thinks there’s no sexual undertone at play here? I think not! The more you think about it, everything the Clown Prince of Crime does is to get Batman’s attention. Yes, he claims it’s about being more famous than the bat-themed Power Ranger, but he can’t lie. He knows the guy is going to show up if he makes enough people smile to death. The guy walks around with a gun in his pants that screams “compensating for something” and definitely trying to show off. Batman is no exception with his “Batmobile” that can’t take a turn even if its life depended on it.

    Before he turned into a mad clown, he was a calculating gangster. Just because he is selling make-up that puts permanent death grins on its victims, and starts obsessing about a woman’s photos of dead people – by the way, what the hell was up with that, Vicky? – that doesn’t mean there’s a plan at play here. If you ignore the dramatic implications of Joker turning out as the murderer of Bruce’s parents, you start to realize where the inspiration of their relationship in The LEGO Batman Movie came from. It was in our faces since 1989, but we were just too focused on the fun superhero action and a great story to really look a little deeper.

    Let’s be honest, the Vicky Vale romance may have been hiding the true love story all along, as two different worlds collide and are desperate for each other’s attention. Even during the finale, he’s just waiting for his prince in plastic rubber. Dancing with Vale in his arms, while Batsy is desperately trying to get close. If he really was as obsessed with her as the film is implying, they would’ve been gone a long time. Hell, he could’ve taken out Batman if he wanted to. Even as they are hanging, the one to fall is Vicky and not the Caped Crusader. He’s obsessed with the man that just manages to put a smile on his face, a permanent one.

    There’s just something about the romantic setting of Burton‘s Gotham and the slower pace that lets you take it all in. We’ve really been enjoying a superhero epic that was hiding an unlikely love story for so long. Vicky Vale is in the middle of a story that may not actually be about her. The true reason Batman wasn’t there to meet her wasn’t because of the Bat symbol, but the memory it holds for what was lost during the final confrontation. Perhaps he really did want to dance with the devil in the pale moonlight.

  • New ‘The Flash’ Stunt Crew Shirt May Tease Movie’s Villain

    New ‘The Flash’ Stunt Crew Shirt May Tease Movie’s Villain

    Possibly one of the more interesting films this year is the first solo outing of The Flash. It’s crazy to think he still hasn’t gotten his own film after countless appearances throughout the DC Extended Universe. We don’t know a lot about the film officially but there have been countless rumors since it started production. The biggest question still remains who Barry Allen will face in the upcoming film, but it seems a crew wrap gift could hint at just who that could be.

    A member of the stunt crew from The Flash recently revealed the wrap gifts the crew members got and it features an interesting detail. Alongside Supergirl and Batman, you can clearly see the silhouette of the Flash. Yet, what makes this a bit of a head-scratcher is that the character is sporting a red lightning bolt with black tendrils crawling on his body. Their design seems to match what we saw from the Negative Flash, an incarnation of Barry Allen that recently appeared after being stuck in the Negative Speed Force.

    A while back, it was reported by The Direct that Barry Allen might face a darker version of himself in the film. We would later see photos of Ezra Miller filming on set with someone who would turn out to be a stand-in to play a second Barry Allen. He’s seen wearing a Flash painted Batsuit in the teaser from DC FanDome. It seems possible that maybe this Flash could be the one to turn into Negative Flash after accidentally tapping into the Negative Speed Force.

    The Flash is set to hit theaters on November 4th, 2022, and will star Ezra Miller with the film being directed by Andy Muschietti.

    Source: Instagram

  • China Once Again Welcomes Superhero Films Back With ‘The Batman’ Approved to Release

    China Once Again Welcomes Superhero Films Back With ‘The Batman’ Approved to Release

    The Batman truly is an international star, as The Hollywood Reporter revealed the film has been signed off to release in the Chinese market. It’s the first to do so in quite some time. Matt Reeves‘ upcoming film will find its way into the Eastern market on March 18th. It’ll follow a release in Taiwan and South Korea on March 2nd. The biggest advantage for the release of this film in this market lies in that there’s no HBO Max simultaneous release, as the country is infamous for piracy. So far, the only other Chinese approved releases are Death on the Nile, the 2018 Woody Allen film A Rainy Day in New York, and Uncharted.

    Many other releases were facing some trouble finding their way to the market with 2021 only seeing a handful making their way East. Spider-Man: No Way Home was actually hinted at getting releases in the market for some time, but it looks like this article confirms that it simply never got approved. There probably were just rumblings, but it’s not like the film had to rely on that market as it continued to break records during its ongoing release.

    The Batman is promising a 3-hour noir-inspired take on the iconic DC character and has a good chance to be another release to redefine how powerful superhero films are at the box office. It’s unclear what surprises Reeves‘ rendition of the character might have in store for us, but we’re only a few more weeks away until it finally releases in theaters.

    Source The Hollywood Reporter

  • REVIEW: ‘Batman: The Detective’

    REVIEW: ‘Batman: The Detective’

    When it comes to DC Comics, the one thing that it is never short on is Batman titles. It seems like every week we’re getting the announcement that a new Bat-centric title is on the way and just about everyone is getting their turn at the wheel. So, it’s unsurprising that a Batman solo title would eventually find his way to Tom Taylor, one of DC’s best minds and now an exclusive writer with the publisher. While Taylor’s Batman: The Detective is a fun read that lives up to its name, throwing you into the mind of the world’s greatest detective, its plot can’t help but feel a bit weak. 

    Batman: The Detective finds the caped crusader leaving his life in Gotham City behind and making his way to Europe, Why you ask? well because some folks overseas are dressing as bats and killing people. Its quickly revealed that they aren’t killing just anyone, but people who have been saved by Batman himself. The biggest mystery of the series is why; why are these people in white bat costumes brutally murdering people who’ve been saved by Bruce Wayne? The story here works, and it’s interesting at times, but it didn’t really sink its claws into me like any other mystery.

    One of the strongest parts of the story is the bits that seem to come from within the mind of the bat. He’s breaking down happenings in his head and really digging into the world’s greatest detective angle of the character that’s been absent from a lot of recent interpretations. For a few glimmering moments, the story feels engaging, but ultimately, the story itself is too weak for anything special to come of it.

    Perhaps the weakest part of this story is the villains themselves, they aren’t compelling and there is really nothing special about them. It’s pretty ironic that they wear white batman costumes because they feel lackluster. They’re what you’d expect if you took all the fun out of the characters from Gotham City Imposters and threw them into a European setting. The story here feels like it should be interesting and feels like a unique scenario but it just doesn’t really tie together well in the end, with the reveal being nothing jaw-dropping and kind of generic.

    Perhaps one of the brighter aspects of the story is its reintroduction of the newest Knight and Squire, UK equivalents of Batman and Robin. Here we see the original Squire, Beryl Hutchinson, pick up the mantle of Knight alongside the newest Squire, Amina Eluko working alongside Batman. Their story is something interesting and the two of them could really shine in their own book. Detective Mentee of the Bat, Henri Ducard plays a prominent role where at times it feels like he’s more useful as a punching bag than he does integral to the unfolding story. Thankfully, though, the character does get better as the story progresses but a moment that could’ve been crucial and emotional falls flat.

    Despite its story issues, this book is something great to look at, with some stellar artwork from Andy Kubert. Batman gets a stellar redesign here, fitting in with his new European terrain, sporting a trench coat and goggles. Kubert really shines here with his environments and bringing Europe to life. The panels here are truly dynamic and admittedly are the best parts of this book.

    While Batman: The Detective ultimately was not the Batman story I was looking for when it comes to Tom Taylor, it is an interesting premise that features a below-average story with some above-average art. 

  • Latest ‘Batgirl’ Set Photos Offer Best Look Yet at Michael Keaton’s New Batman Suit

    Latest ‘Batgirl’ Set Photos Offer Best Look Yet at Michael Keaton’s New Batman Suit

    A few days ago, we got the first look at Michael Keaton arriving on the set of Batgirl in his Batman costume. Sadly, it was a bit difficult to make out due to it being quite dark and far away. Luckily, it seems that some more photos have found their way online that offer a better look at his updated suit for the HBO Max film. You can check out the images provided by @JTsLeague right here:

    The costume looks great and surprisingly similar to what he wore back in 1998. Even the headpiece seems to follow the same structure, but we won’t know for sure if he can finally tilt his neck until the film releases. There’s always the chance that the fabric being used can replicate the look but also offer some more functionality for Keaton while acting. It’s certainly no longer a rubber suit that needs to be ripped off of him so he can escape it. The biggest addition seems to be the shoulder pads that connect to the cape and the cowl. He did have some in the original but it’s way more pronounced this time around.

    If you look closely, his logo has also been changed slightly. It seems closer to the one he had in the original film and not its sequel, which altered it slightly to be closer to the logo used on most of the promotional material. As we haven’t gotten a good look at his costume in The Flash, it’ll be interesting to see how much they may have changed or adapted between these films to keep his look fresh. No matter what, it looks great and hopefully we get an official look soon.

    Source: Twitter

  • Robert Pattinson Tried on All Former Batman Suits Except One

    Robert Pattinson Tried on All Former Batman Suits Except One

    Fandango has just dropped an exclusive interview with the cast of The Batman, as they shared some insights into what to expect from the film. We’re only a few more weeks away and the tickets are finally up for sale. During the interview, the cast is asked who their favorite incarnation of Batman was, and got a surprising reveal from its main star Robert Pattinson, who got a chance to actually wear most of the suits from the former films.

    I weirdly got to try on every single Batman outfit for my screen test to see actually which Batman I was. […] The only person who had a large enough head to fit into the cowl was Clooney. I did not realize everyone else had quite small heads. So you can judge it, the most important thing is the cowl, but his suit I could not fit into.

    Robert Pattinson

    He does reveal that there was one exception, as he didn’t have the chance to try on Adam West‘s costume, but his costume probably would break at this point if someone would try to put it on. It’s kind of a great idea to let Pattison try on the costumes to get a feeling for which one fits him best. It’s funny to think that only George Clooney‘s cowl fit his head. Sadly, we might not get to see the photos of him wearing the costumes but there’s always a chance the blu-ray release, later on, might include it.

    Source: Fandango