Matt Reeves’s The Batman has been right up there with the classics and has been deemed arguably as the best representation of the caped crusader in the history of comic book movies. Whether Robert Pattinson was a deciding factor in the film achieving its current status of glory or not is a debate that has been thrown out of the ballpark.
The actor who had owned the trademark banner of ridicule ever since his 2008 breakout film, Twilight, has definitively put a stop to all discussions as he regains his place at the top of Hollywood Hill after The Batman becomes the highest-rated film of the year with 85% RT rating. However, there are still some aspects of the film that have failed to impress the media and its critics.
Joe Rogan Takes Offence With the Catwoman Costume
As good as the representation of Matt Reeves was in his directorial entry in DCU, the music, the cinematography, and the narrative of The Batman comes to a standstill when one takes a closer look at the costume of Zoë Kravitz‘s Catwoman. In an episode of The Joe Rogan Experience, the host speaks about the impact of the movie in today’s modern CBM era with respect to its powerful plot and its overall audience perception. The DCU standalone has surely wrestled away the attention of moviegoers from its contemporaries in its realism and gritty tenor.
When it comes to actress Zoë Kravitz, however, the debate takes a comical turn with the host and his guest taking turns mocking the choice of attire, or specifically, the mask that was supposedly put in place to hide her identity from her victims but barely managed to cover her face. Rogan chimes in saying,
“The costumes are a little wack. [Catwoman] barely covered her face. She was too hot and we just didn’t wanna cover any [part] of her face, so it was just like a little tiny thing across her nose.”
Although the comments were made in jest, the arguments do hold water when considered in retrospect. Robert Pattinson‘s costume was a sheer delight and truly was representative of the Dark Knight. The cowl and its ear were sharper than the other modern Batman costumes and the menacing savagery that the formative vigilante displays in his debut emanate from the visually hypnotic fear that embeds itself in the victims upon witnessing a figure emerging from the dark almost as if a shadow had itself materialized.
The Batman Delights the DCU Audience With Its Originality
Rarely have there been so many different representations and remakes of the same character and the same formative storyline embedded within the same loop of events. But each time, the differences in the directors’ takes on their individual Batman leaves the audience in awe of the Caped Crusader. The Bat of Gotham has been the classically derived vigilante hero in the 1989 movie, an inspired, idealistic, defeated, and tragic one in Christopher Nolan’s representation, a cynical, aged, and brutal one defined by loss and devoid of his initial morality in Zack Snyder’s DCEU trilogy, and finally the fresh young subject who rises to the occasion as the savior of Gotham in Matt Reeves’ version.
In all of the other representations, it has always been the Bat and his innate fight to bring justice to the streets of Gotham. Robert Pattinson’s Batman is a quiet, seething, cunning hero is one that seeks to drive away the pestilence infecting those streets by instilling them with terror, and then takes to the streets sleuthing his way to the core of the mystery that haunts him. Reeves’s hero doesn’t magically appear and disappear with the flickering of neon lights but has to run, claw, and fight his way out of a packed station with armed personnel pouring out in the dozens on every floor and every corner. In that show of realistic originality, The Batman wins by a wide margin than the rest of its namesakes.
The Batman is now available for streaming on HBO Max.
Source: The Joe Rogan Experience