Somewhere Between The Seemingly Unstoppable Rain And The Fists Played With Incredible Sound, Matt Reeves In The Batman Seeks To Present His Version Of Gotham And The City’s Night’s Bat.

Revenge of Gotham, The Batman knows what many audiences today want from a Batman movie adaptation and has made portraying these its primary purpose. As a filmmaker who previously demonstrated his ability to create a good blockbuster with War for the Planet of the Apes, Matt Reeves presents a work that is full of well-thought-out and well-thought-out inspiration from notable films. At the same time, he tries to make Batman and Gotham with various audio and video tracks; The reason for the effect is not merely its financial profitability.

Along the way, Reeves succeeded in making a film that has a variety of popular story situations; Symbolically, if you ask many of today’s audiences what they want to see in Batman, most of the answers are probably related to what is in this new adaptation for at least a few minutes.

Avoid chasing Batmobile, hand-to-hand combat, using various equipment, encountering many famous comic book characters, and even ending with a focus on pointing out possible sequels.

Each of these cases is present in the film, so it is clear that Matthew Reeves attaches great importance to achieving them. As a result, no matter how much it costs to have so many defined story situations in a movie, The Batman was able to be full of moments requested by its primary target audience.

The excellent soundtrack of The Batman gives a unique identity to a variety of sounds, including Riddler’s breathing sound behind the mask.

At the same time, we know that the viewer, when following such works, focuses more on how to implement these critical moments in the film; Matthew Reeves, in fairness, shines by choosing the right team of co-workers to do it. Whenever you touch on any of the story situations in question, you often encounter a sequence whose strengths outweigh its weaknesses.

It does not detract from the visual creativity; good lighting gives the film a unique effect in different parts of filming the wolf freezer. The combination of the two creates spectacular developments in the movie several times and makes Matt Reeves succeed in building his particular version of Gotham during the best scenes; A black Gotham is created by combining a realistic city look with exaggerated comic book illustrations.

Making a film by a group of creative people who have been chosen correctly and correctly by the director has a positive effect on the audience’s experience in different situations. This point can have other products.

 For example, a significant portion of the physical struggles in the film owes their undeniable appeal to the precise and believable sound that throws the viewer into the battlefield.

When Batman’s fists are heard in the street, and then sometime later, while fighting in a crowded environment, we realize that the sound of the fists is hidden behind the loud sound of the song being played, the audience’s association with the character increases. Thanks to proper illustrations and sound, these story situations can seem believable to us.

The same positive point can be seen in another way in the car-centered sequence that we also saw in the trailers; Batman is chasing the Penguin. Although, in some moments of the film, unfortunately, with a bit of care, we can see the difference between recording some frames in the natural environment and filming some other scenes in the studio environment, in many cases, fortunately, the production team combines computer special effects with special field effects.

Has emerged For this reason, although in the sequence of jumping from the heart of the car, for example, we see that the editing takes too much of a process to make this happen, the overall effect is so fascinating that the viewer can immerse himself in the heart of this combination of realism and exaggeration. Have a movie.

Most of the actors have succeeded in presenting remarkable performances, Even people like Peter Sarsgaard, who do not have such an odd job with Colson’s character.

Colin Farrell is portrayed as an excellent penguin character, So great that we often see him ahead of the script, as with other characters.

Farrell has found the ability to animate Az’s dialogues; when he screams behind the wheel of a car or when he first speaks to Batman, he captures a particular image of a penguin in the viewer’s mind.

Considering such cases, Reeves goes halfway with the excellent choice of people in front of and behind the camera. He selects specific story situations and can implement that situation properly by people who can give each Gotham environment its sound and image.

As a result, how many seconds Batman fights in the smoke affects the overall effect of the battle, and how the character steals from that environment, which is suddenly beautifully accompanied by mysterious music, creates sequences that can hardly be challenged as separate clips.

The Batman takes on more than 99% of its moments with absolute seriousness; Seriousness is such a prevalent section by section of the work that it practically eliminates the possibility of not looking at each section of it seriously and strictly.

 When a film takes such an approach, many audiences cannot focus solely on the moments presented to them.

Whether they like it or not, they are deeply involved in how the work goes from point A to point B; Regardless of how successful it has been in each area.

Matthew Reeves’s work has severe shortcomings in this regard, So much so that sometimes it is difficult to find the ideal connection between the different parts of the storytelling, except for the generalities of the work, including the excellent soundtrack of Michael Jacquino.

The story is not just about inadequate storytelling and over-reliance on general assumptions imposed on the audience. Still, it also reaches the rhythm of the work and raises questions in our minds.

Batman 2022 is full of patterns that can be followed from the beginning to the end of a movie and create a complete experience. But Reeves uses a kind of fast-paced storytelling to portray a particular narrative situation accurately, then suddenly moves on to his next goal, abandoning some of the defining elements of his work.

For example, the viewer, accustomed to the soothing rhythm and step-by-step narration of the film, is forced to accept the sudden development in the middle of the story. Why? Because the presence of that narrative situation in the movie is of the highest importance for the creators.

(From now on, the article will spoil parts of the story of The Batman movie)

Take a look at the opening minutes of The Batman. Reeves deliberately portrays criminals afraid to be in the city without directly confronting Batman. One of the critical points of this part of the work is the emphasis on criminals’ fear of vignettes.

Now follow the same line and go to the continuation of the film to officially see the release of this story idea. Where in the movie is this Batman’s use of fear as one of his weapons in a fascinating way?

One does not see the complete connection of parts of the work by asking such questions. Batman answers a few seconds after looking at Riddler’s riddle; Gordon and the police chief are attracted to him.

Such a kind of detective is practically summed up in Batman’s sudden arrival of the correct answer in other parts of the film. But when the story needs to be told, Batman’s immense intelligence in solving the puzzle does not help his long-term mental struggle to spot the spelling of a short text written in Spanish. So the viewer notices the instability of the narrative.

Of course, each person can make mistakes in different parts of life. But Reeves seems to have accepted excessive and contradictory exaggerations in his film because he wants to successfully portray all those narrative situations that many audiences of the day want.

There are many details in the first sequence of Batman’s presence at the crime scene.

In this section, the film emphasizes the mystery of everything and the display of riddles; in such a way, discovering the killer’s identity and how the mayor was killed should be pretty questionable for the characters and the audience. From the design of the stage to the problem-free role-playing of the actors, Reeves also succeeds in creating this atmosphere.

But the audience that just a few minutes ago saw the murder sequence naturally can not look at this environment with that much curiosity that the filmmaker wants.

 

Whether we like it or not, it must acknowledge that the advertising approach of a film production team can, in many cases, be at least somewhat indicative of some of the goals pursued in the project.

It is why so many of the key and intriguing story situations in The Batman were practically part of the trailer, so much so that people have long relied on Reeves’ “use of fear as a weapon” or the film’s emphasis on one of “Important parts of his identity in comics speak as the best detective in the world.”

Matt Reeves is not satisfied with making one of these works and focusing on one dimension of the character.

He wants everything together; To present a work that is both action-packed and car-chasing, includes the audience’s favorite romances, goes a little into the character detective show, shows the realistic design of the new car well, and points to the sequels. Slowly, when many of these story elements do not merge, a sequence of Batman’s dialogue with the penguin emerges after the accident.

First of all, why did the chase start at all? As I said, the chase is perfectly portrayed. Now we look at the before and after this sequence. Batman gets to Batmobile, and it takes about 27 seconds for the film to move without an apparent reason for his procrastination.

All the characters have more or less stopped in this state and are watching Batmobile. When the camera has enough time to show the different parts of the work done to produce this car, Batman manages to scare the penguin with a little bit of gas. Then he waits for the penguin to get in his car, and now Matt Reeves can show the chase.

Reeves’s work pays so much attention to having so many popular story situations that he often narrates himself from one part to another by giving in to various objections.

The narrative details of the work at the heart of this type of narrative sometimes even contradict the illustrations. The freezer captures the moment when the car overturns and the severity of the crash, ideally from inside the vehicle.

Then Batman, the same character who gave Alfred the solution to the complex text puzzle and only realized when he saw Drive that he had to enter the garage strictly and what to look for, thanks to Penguin realizing Ridler’s deliberate mistake in writing the Spanish text. Bruce Wayne, Gordon, Alfred, and no other character could notice this false language. Only a penguin could explain the difference between El and La to them. But blood does not come from the penguin’s nose.

The flagship of the problems of all these mentioned minutes is also seen when Reeves uses their closed hand of Az to show the movement of his penguin. The director had the opportunity to show the character’s severe and brilliant appearance. It is hard to believe that Batman slowly came toward the penguins in front of the flames just a few minutes ago when watching this movie.

The director did not want to lose that frame, nor was he willing to mention the character’s name.

There is no problem in the middle of storytelling’s tone, rhythm, and logic. Batman, several times with this type of narrative, can practically be a fragmented work in the mind of the audience; A film in which the filmmaker, for example, makes the main character solid or weak whenever he wants so that the story goes according to his wishes.

Targeting the film prevents it from becoming a cohesive work and negatively affects the two writers, from the script messages to the creative and sound decisions.

The viewer can be thrilled when the Batman movie uses Bruce’s monologues and reminiscences when showing a few frames that remind the audience of comics. Because he thinks he knows the storytelling approach in the film, Matthew Reeves will have several models to use this personal storytelling.

But in practice, there is no news of it during most of the minutes of the film.

Why? Because adhering to a specific pattern in the narrative requires a great deal of coherence between the different parts of the work, The film needs to seriously define the basics of its storytelling, such as the overall storytelling speed.

Peter Craig and Matt Reeves, as the writers of the 2022 Batman movie, finally began to use this personal narrative again, So that The Batman could connect the ending to the opening with the replay of Something In The Way.

But this connection never seems complete and tangible, given all the different storytelling done in the second act of the script; More or less like puzzles that are interesting in their own right, but not the process of solving them.

After all, this movie does not succeed in fully justifying Vengeance becoming the original name of this version of Batman because he wanted to say in the end in a predictable way that he should pursue an approach beyond revenge.

The lack of coherence and complete connection between the various parts that make up this story sends the film to reference the relationship between different events constantly. Ironically, this approach has worked in several areas. For example, we can consider the murder of Carmine Falcon and how well she plays a role in The Batman with different models.

Selena’s bitter memory, the painful audio file of the last moments of Anika’s life, and Carmine’s physical assault on Selena all show in different ways how this kind of crime and evil has been hurting other people.

On the other hand, the indirect connection between Batman and Ridler also comes out of their loneliness and notes acceptably. As a result, the viewer understands why Bruce Wayne’s attempt to avenge Gotham’s deadly contamination of his parents indirectly led to the formation of a monster who wants to take revenge on the city and change it in his way.

At the same time, unfortunately, it cannot deny that sometimes the film is too insistent in doing so, either by constantly showing a particular connection or by using additional dialogues, it underestimates the audience; So much so that it seems as if the audience is not able to understand it if it is not emphasized several times.

From the opening sequence, we see the gaze of Batman playing the son of Don Mitchell Jr., A boy who has to deal with the death of his wealthy father soon. After the murder, Batman sees the boy’s feet, and Gordon says he has found his father’s body. All kinds of viewers immediately notice the indirect connection between the two characters with each other. But Reeves will not be satisfied with this one show.

A few seconds later, Batman looks at the boy again. Inside the Batcave, Alfred looks at the picture of the same boy for a few seconds after talking about what happened. At the closing ceremony, Bruce meets her face to face for a while.

 A few seconds later, Bruce hugs her and rescues her.

The story does not even end here. Because when Bruce is in Betky, the television emphasizes the similarity of what happened and ironically says that, in a strange comparison, it is now almost 20 years since Bruce’s parents were killed.

A line between the two characters, which could have formed part of the overall picture, becomes so bold that it only depicts the script’s fear of not establishing the necessary connection between the various story elements.

The purpose of mentioning these cases is not to question the positive points of The Batman movie at all. Because no one can deny the impact of the film’s best moments, such as the fight in the dark corridor with the pure use of enemy weapons and equipment, or forget the charm of its realistic physical battles.

Matt Reeves is sometimes so clever that he even thinks carefully in the design of the costume to show the best use of his abilities instead of the characters; Like when Selena’s long nails hurt Carmine or Batman uses the badge on her chest as the last resort to cut ties and reach out to people.

The Batman is a movie where the villain makes the mistake of using his flight suit and gets hurt, where the first person shoot comes close to him, or where a limited number of actual implants and impressions are made right in the heart of the dialogue.

That should be. But on almost every element of screenplay storytelling that we touch on, we are often confronted with the correct and incorrect implementation of narrative ideas.

In other words, just as the differences in IQ and power of character in some sequences do not match, such contradictions play a significant role. When Batman is scared of what might happen to Alfred, Dori, on the back of the phone, tells him exactly what came out of Ridler’s mouth: “I was trying to get in touch with you.” The film succeeds without too much emphasis in showing how Batman is seriously damaging Bruce Wayne’s life as a human being.

Some repetitions and explanatory sentences are placed in the film so that it seems that the script does not have the slightest confidence in the audience to understand some of the details of the story.

How is it possible that a movie with that clever dialogue is the same movie that, in one of the final scenes, deliberately removes the mask of a regular enemy so that Gordon asks him who you are, and he calls himself Vagens? Really? Wasn’t it enough for Bruce to be shocked to see Riddler on the way to the closing ceremony?

Couldn’t the faint, heartfelt line drawn between Ridler and Batman show that the character had to become a more significant, brighter symbol? Doesn’t the fact that Batman finally can look at the light at the end of the film show the beauty of the path from revenge to the real effort to improve?

Indeed, an enemy must have directly referred to himself as Vagens to understand that Batman’s merely dark and violent identity as Vignes hurt Riedler and his followers?

The discussion goes back to the same additional and deletable allusions; That Batman must repeat the sentence in Ridler’s message on top of Carmine’s corpse so that no audience is confused.

Cats are surrounded by cats for direct reference to them, along with Ridler’s repeated attempts to emphasize the role of puzzles in their lives; Clear and removable accents that stem from the film’s omnipotence; That The Batman, for example, does not want to miss any of the opportunities to point directly to the source of the adaptation.

Things are different when Carmine Falcon says she will bury her secrets. Here the dialogue is expressed at the right time and in a logical way, and then the audience realizes in the review of the work that it is entirely correct; The same is true of Selena’s promise to Anika earlier in the film about leaving Gotham. Because he leaves this city, I wish Batman could cleverly present more of its story hints to cinemagoers.

Large volumes of content reduce the density of the film. All shortcomings are practically tied to this strange attempt to have all the possible attractions for today’s audience.

One of the worst manifestations of this negative impact can be seen in the extent to which the work relies on narrative hypotheses; Assumptions that many key events took place outside the camera frame, and if you do not ignore them, you probably do not have the power to accompany a significant part of the story.

A significant portion of the film is based on the mutual respect Batman and Gordon have for each other, A relationship in which we do not know its background and is limited to showing their cooperation with each other.

From the moment we see Batman talking to Gordon to leave the crime scene until Gordon is willing to punch Batman to save him, this relationship exists and must be accepted.

In a part of the film, we even hear that Gordon officially tells Batman that he “only” trusts him, A sentence that weighs far more than the chemistry flowing between the two characters.

This amount of indirect emphasis on the existence of relationships that the audience does not understand the depth of sometimes ends up costing the filmmaker.

For example, we accept that they are so close and in harmony. But strangely enough, Batman is surprised by Gordon’s gun use and warns him not to use it.

Gordon must also answer that he must use firearms in such situations, unlike Batman. So the audience can ask whether these two close colleagues who have complete trust in each other have never been in the same problem before so that there is no need to form this conversation?

This objection also changes how the two characters relate throughout the film.

Batman takes any relationship he wants whenever he needs it. When we see Bruce’s great grief over Thomas Wayne’s perfection, we rush to his room to see a childish painting depicting him with his parents. We then walk to the injured Alfred’s bed, where Bruce recounts his former belief that his father is perfect.

Of course, Robert Pattinson, as a charismatic actor, manages to show a wide range of emotions, and all the sequences work separately; When Bruce is tired and seemingly insensitive, and when the film emphasizes his absolute emotional vulnerability.

But why does the script finally come to mind when it comes to Batman’s emotional connection to his father? Maybe because if we had talked about it before, Bruce Wayne could not have appeared as dry and cold as the filmmaker needed in the previous episodes.

The Batman movie introduced characters who have that main attraction for the audience but still do not enjoy complete personality stability and identity.

The Batman movie is sometimes so dull that it shows the whole process of dressing the character from beginning to end. At the same time, sometimes, it does not take time to progress in the logical development of a human relationship.

Alfred and Bruce Wayne’s relationship may be considered the culmination of this problem. Bruce’s encounter with Alfred in the film’s few minutes in the movie is full of absolute coldness. Then, when the danger comes, the viewer must suddenly accept Bruce’s fundamental concern for him.

When we get to the hospital, Bruce doesn’t care enough about Alfred to express his happiness. Instead, it goes directly to calling him a liar. A few minutes later, Bruce Wayne, who looked into Alfred’s eyes in the same film and reminded him that he was not his father, told Alfred how scared he was to lose him.

What’s going on here? Where do these character traits form away from our eyes that we have to be ready at any moment to see what kind of emotional connection the film has chosen for the characters in each sequence?

Aside from how much Matt Reeves’s approach to storytelling can seem rhetorical, at least for a few seconds, and rank all the negative characters in a group of white men with a dialogue from Katowoman, the relationship between Katowoman and Batman sometimes has such weaknesses.

He shakes his hand.

Of course, accepting this connection is easy and sweet for many viewers. Because the undeniable charm of Pattinson and Zoe Kravitz and the excellent chemistry created between them do a significant part of the job.

This film’s target audience, probably with the mental background of previous comics and adaptations, is spontaneously fully prepared to accept the communication in question and welcomes it.

But the essence of the relationship is not yet tangible. How does Batman’s seriousness towards Selena and Selena’s guarding against Batman disappear in a three-hour movie in one sequence?

The sequence, which hints at the possible wealth of the person behind the Batman mask, puts Wenceslas in the same category as the privileged white men.

Reeves did not want to lose that dialogue, nor could he afford to live this romantic relationship in the film at no cost.

Instead of Selena referring to painful memories tied to the filth of carmine, it can have some effect on making the space feel right. But if we want to pay attention to it, we get caught up in how Bruce, interested in his father, is not so impressed when Selena puts his name next to some of the worst possible people?

Which character depiction should we believe? Why is it that Bruce is so dependent on his mental image of his perfect father that he can have virtually no reaction to insulting him?

Contradictions can be seen in different parts of the film.

A corrupt and polluted city is often not portrayed with notable criminals and organized crime. If we think carefully about what happened, we may find that, for example, the primary portrayal of the work of dangerous people is reduced to a group of unscrupulous youths who pursue and beat people for no reason; While the story could have emphasized far more than the current situation on the organized drug distribution system, how the police were corrupted and the sick strategies created under the shadow of someone like Carmine Falcon.

The film’s climax is tied to a joker trapped behind bars and an intelligent orphan. They, strangely enough, managed to bring together 507 potential killers in an online group without even knowing one wrong person.

If Matthew Reeves wanted to pursue a definite and central goal in the story, perhaps he could have done the shocking thing: How Closed and Completely Secure Internet Connections Can Create Such Terrible Platforms Today.

Assuming alternative scenarios here does not mean trying to present a better story.

Instead, we ask ourselves if the severe project of The Batman could be more potent in the critical areas?

Determine all of the above, in addition to each of the production team’s shortcomings, to logical flaws to understand how the diversity of goals and tasks of a film calmly damages it.

Falcon’s indifference to the fact that Selena naturally recognizes Anika’s voice on television, the contradiction between Alfred’s military background and his utter disregard for signs that he’s dangerous, and Gordon and Batman’s surprise at being thrown down by Selena. She put her foot on the man’s chest; these are just some of the cases.

How does Batman get into the police station? In such a way that with complete disregard for the bomb, it encounters exactly the explosion; An explosion that kills the prosecutor and, oddly enough, does not inflict even a superficial wound on Batman’s face.

No one then checked Batman’s face and consciousness at the scene. No one even took off the mask so that the emergency room could thoroughly examine for vital signs or damage to his facial skin.

The police take him to the police station as an unopened gift.

Just minutes after the explosion, they use a flashlight to examine his condition, and at precisely the moment when the mask may remove, Vigenes regains consciousness. We know the reason for the formation of this excellent story scenario.

Because the filmmaker wanted to portray a dramatic escape from the police station and his use of various attractive equipment for fans, Batman must pull himself up from the middle of the hall and then fly over Gotham. So it probably does not matter how he manages to get out of this situation.

Following the approach in question makes The Batman cover more tastes and desires and, at the same time, does not reach the peak in doing most of the work. Because in such a narrative, for example, Batman being a detective occupies only a tiny part of the overall duration of the film. As a result, the film’s attempt to portray this character dimension is reduced to dramatic works, such as referring to the falcon and the penguin having wings.

In one sequence, we see Bruce moving large objects around the house and drawing a giant question mark on the floor.

Nothing special happens to let the viewer know that he is getting closer to solving the puzzle. Only a few clear points have been made on the ground so far; Bruce pays attention to the word Renewal and then checks the related files; So, if you delete this sequence and go straight to the series of removing Renewal, folders, the water will not move.

On the other hand, Batman stepping into Riddler’s room, picking up the right notebook, and quickly reaching the most critical part of Edward Neshton’s writing show only the handwriting; Two writers who want none of the cops to be able to look at the notebook so that only Batman can get the most critical information as quickly as possible and be the most crucial person in the room. I wish we could see a detective who manages to solve cases by going through a painful and logical process.

The Batman production team has various talented people who look amazing when focusing on implementing the right idea.

This fact made all the inevitable shortcomings and mistakes more unforgivable.

Matt Reeves’s adaptation of Batman has been so carefully and patiently made in several parts that even the pattern of cracked orphanage walls and the staining of arrows on different parts of the same building can enhance its realism. By choosing the right music and the proper lighting, Reeves identified different environments and prevented duplication in several ways.

Even the omission of the intriguing dialogue sequence with the Joker shows that the director was able to remove the additions and increase the focus of his cinematic work if he wished.

This film has a lot to offer; Features of Paul Dino‘s daring role-playing as Edward Neshton. I cannot praise The laughter, tone, seriousness, and courage of this actor. His art makes it possible for Neshtun without a mask and that horrible masked Riddler to form a character.

He places himself at the heart of many exaggerated sequences, the so-called vulnerability. Because when an actor is so committed to presenting a particular and bizarre image of a comic book character in a serious film, there is an excellent line between his ridiculous and exaggerated appearance and his brilliance.

Dino shines.

The fact that Batman seeks real change in the city from the beginning and finally sees that he has changed from the inside out as a human being is a bittersweet example of the proper planting and harvest that the film needed so much more; Especially considering that Batman Matt Reeves’s movie does not pay ransom to be big or small characters at most.

A sign that Selena is on the verge of killing two people but is afraid of facing Batman’s sudden violence against that person; While Batman, who opposes shooting and murder, in some cases can not control his fists without the help of others. The impeccability of both was very well illustrated.

Where does a filmmaker reward his character for following a moral code?

In the sequence, he re-enters Riddler’s room to take another look at the remaining objects. The initial trust between him and the police officer guarding the place is because Batman does not have a firearm.

The same police officer then hands over the answer to the riddle to Batman; So that he can try to reach the gathering place after seeing the explosion of the vanes in a sequence with an attractive composition. The city suffers terrible damage, but the catastrophe could have taken even worse revenge on Gotham.

The film’s attempt to point to the super-villains of later episodes may be wasteful. Still, with all the flaws mentioned above, one can hope to develop Batman’s new adaptation and its proper expansion in the future.

Because Gotham Reeves is a city built with many visual motifs that were appropriately used to create a unique environment, The environment the viewer wants to return to it. Though still needing a lot of polishing to become a diamond, many characters have gained the initial traction they need.

The bitter irony that has become part of the city’s identity lies in the immense security of its prisons.

Ridler revealed a fundamental fact in a sequence that leads Batman calmly to intense fear without further explanation.

He said that even after drowning in various parts of Gotham, they could watch the whole process with ease. Society is so filthy that its only safe havens are behind closed doors and bars.

What is it that the less you have, the more valuable you become? Riddler calls the Joker a “friend.”

However, the answer to the riddle can also be the number of goals of a film or the intended work of cinematic work. Perhaps now that much of the initial work has been done to create this fictional world, and the initial undeniable mistakes have been made, Matthew Reeves and others in the coming years will be able to produce works that, instead of contradictions and other confusions, can provide more calculated metaphorical content.

In the previous paragraph, present the cinemagoers. The first film was released, and we can learn from it. The puzzle will solve, and it will be easy.