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Batman stood out from The Dark Knight by injuring Robert Pattinson

BatmanThe new DC comic-inspired horror movie from War for the Planet of the Apes director Matt Reeves, struggled to distance himself from Christian Nolan’s still-impressive trilogy. Both are inspired by Batman’s Textincluding Frank Miller and David Mazzucchelli’s Batman: Year Oneand rely on top cinematographers (Wally Pfsiter in The Dark Knight, Dune’s Greig Fraser worked with Reeves) to create surrealism that contrasts with Tim Burton’s gothic vision, Joel Schumacher’s live cartoons, and Zack Snyder’s mythical frescoes. But Reeves finds a unique spirit through a simple pleasure: beating the survivors of Batman. In my opinion, Robert Pattinson couldn’t let his body hit enough walls.

Christian Bale’s Batman is more vulnerable than incarnations before him – who worries more about surviving a pack of evil penguins or being turned into a block of ice by Mr. Freeze – but between his armor and high-tech gear, he remains largely untouchable in skirmishes with regular Gotham goon. There are a few brutal moments in Nolan’s trilogy; a pouty young man Bruce had assigned to him in a prison in Bhutan early on Batman Begins, but he’s just (Batman) getting started, and we know he’ll be back soon in the future. After the heavy psyche the dark KnightNolan wrote Bane as Graduate darkness hydrophobic rise for maximum pain relief, recreating the scene from Batman: Knightfall when Bane broke Bruce Wayne’s back. Nolan has pushed the franchise to the extreme, and if anything can derail Bale’s Batman in the final act, it will be the final takedown.

But in BatmanReeves asks Pattinson to be Bruises Wayne. His millionaire sassy kid wears a jumpsuit, cape, and bodysuit like every other Batman, but underneath, he’s the incredibly human and prone to violence. Though only in his second year of fighting crime, this Batman (sorry, THE Batman) knows how to throw a punch – and he unleashes the force of his fists on street gangs, the mafioso and occasional gun assault. But he was just a man, and when his opponents were eight thugs drawn with machetes and baseball bats, he couldn’t avoid a hit. After a brutal first encounter, Reeves pushed his camera closer to see Batman’s weary eyes, and silenced everything until he heard his gasp. The close-up becomes an important tool for the director, not only as a way to watch the gears spin in Batman’s head as he deciphers the Riddler’s clues, but also allows for the tension of being Human. bats appear.

Batman hum

Image: Warner Bros.

After 100 years of car chases, there aren’t too many ways to improve the car’s choreography, but Reeves’ philosophy of beating his boy has enhanced even the simplest part. Mid-movie, Batman, horseback riding His sleek black Batmobile, chasing Penguin (Colin Farrell) through traffic. Reeves skips the Nolan-esque IMAX wide stunt performance for a more breath-taking experience, sticking to two-driver shots and wheel-side vantage points to build momentum. The camera occasionally pans behind Batman to peek out the windshield, where the mack trucks start to lose control and crash into his car. The Tumbler tank like the one in the Dark Knight movies should have no problem dashing past cars every day to catch the bad guys, but Pattinson’s Batman finds himself getting whipped trying to maintain his position. steering wheel 10 and 2 are appropriate.

Car metal clattered, tires rattled, and there was a feeling that Bruce Wayne might be dealing with a bit of trouble when he finally caught Penguin. The stunt work in the scene is subtly impressive, and it’s not clear how much special effects it took to make Robert Pattinson go flying.

Reeves hit his Bat with glee. An inside fight lit up almost entirely by muzzle flash shows the superhero being hit by rifle shots, each of which shoots out of his bra plate, but notably causing him to stumble. A late-game fight hits Bruce in the butt hard enough for him to resort to firing off some sort of adrenaline venom that sends him into rage mode. And shortly after surviving a close-contact bomb explosion that left him completely shaken into Batman’s slumber, the hero finds himself trapped in a room with a squad of policemen who wanted nothing more than to punch him in the face of his dumb Batman. And they do! It looks painful!

The success of these coveted moments has everything to do with the design of the new suit. For all the horror stories of former Batman actors trapped in leather suits or stiff cushions that make it difficult for them to move, Pattinson’s costume allows the actor to be light on his feet and express emotions. More painful than gritting teeth and squinting – that’s what it feels like when an actor, theoretically, picks himself up. That this Batman can fall, then get up again, is an achievement in the context of comic reality.

Batman is detonated by a bomb!

Image: Warner Bros.

Another ingenious move by Reeves is to keep Pattinson in the suit for most of the film. Batman standing around a crime scene or appearing at the door of a club often transforms the suit as a layer of protection. It’s a second skin, imperative to business, and seeing it as mundane makes instances of more pompous action even more deadly. Impossible suit that defend if Bruce Wayne can do another 100 things in it.

Reeves’ Dark Knight’s persistent stealing culminates BatmanBest Scene: In an attempt to flee from the aforementioned police squad, Batman climbs from the ground floor of GCPD HQ to the roof and activates a set of wings that, in theory, allows him to glide through the streets in the city to freedom. Based on the remarkable snap he made before jumping, it was Bruce Lee’s first real freefall – and the jump actually went well. The landing… not so much, where he crashed into a bus and an overpass before hitting the sidewalk and rolling over a block. The whole moment is brought together through visual effects, but Pattinson sells it through pain and agony. Batman, welcome to Jackass.

Stakes are the odd target of a superhero movie. As the characters can’t die and the sequels still die, the movie can only rely on the aura of danger. To compensate for the limitations of the franchise and set that tone, Nolan pursued larger life thrills powered by Wayne technology. In contrast, Reeves was entirely focused on Pattinson’s performance and Batman’s Man part. The screenwriter-director avoids nasty origin beats by focusing on what happens when an ordinary man walks into street-level crime and swings from the rafters for the first time. The answer is trauma – all kinds, play to gasp and laugh. I’m never sure how this version of Batman will get back up, and the dire moments are when Reeves’ film is at its most alive.

Final, Batman lacks the moments of true lightbulb inference to be an effective ticking mystery or a cohesive movie like Batman Begins or the dark Knight, but the moments where Reeves and his writing team interrogate the life of a masked cop really have to almost make up for that. It was a much-needed discovery; as the output of DC and Marvel becomes more magical and mesmerized by the multiverse, the sequels of Batman can bring a welcome balance to the landscape. Give me a hero who gets blown away by a punch to the gut and walks away limping after an ill-timed three-story leap. There’s no reason Batman can’t be believable.

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