The Batman 2022

The Batman The Pirate Bay

The Batman Pirate Bay, The Batman The Pirate Bay, The Batman 1337x, The Batman Movieverse
The Batman Pirate Bay

The Batman is a beautiful scratch. Matt Reeves tangles suggestions, gothic atmospheres, and bright notes of classical music to scrape off the patina of the mask behind which (on this occasion) the face of Robert Pattinson is hidden, giving back to the public the representation of a man torn, distraught, disappointed. 

Just like Gotham, to which the Dark Knight is inextricably linked, Bruce Wayne will be forced to rebuild the rubble of his existence, in a process of renewal as subtle as it is painful, slow, and exhausting.

Starting from the comic book material contained in the volumes Batman: Year One, Batman: The Long Halloween and Batman: Ego and other stories, Matt Reeves (supported in the screenplay by Peter Craig) cuts a particular vision of the batman on celluloid, in a journey of tones noir that leads us to the origins of the hero of DC Comics

The world he paints is sharp, vibrant, damn real; manages to pierce the screen by infiltrating the meanders of a future past, in the so lucid and dystopian photography of a small reality afflicted by the discomforts of megalopolises in which the pouring rain is not enough to wash away the crime that flows serpentine along the streets and in the bowels of Gotham. 

Greig Fraser's photography seems to heavily quote Blade Runner. But there are no androids here, only men thirsting for corruption, hatred, and revenge. Yes, revenge, this is the feeling that moves the hero of The Batman: as in an epic poem he appears invincible and inscrutable and everything starts from his anger, from the forced abandonment to which the death of his parents forced him. , from the inability to forgive oneself, from the fear of showing oneself. 

As the night falls on crime, announced by a play of light and shadow that is the synthesis of an ambiguous philosophy and a legendary graphic style. In that part that is not exposed to the light Gotham vomits all the rot he is capable of, all the lies and secrets of a past forced to return again and again.

The Batman: Revenge is the engine of the action in Matt Reeves' film

They believe that you hide me in the shadows, but I am the shadow.

In this new adaptation, the city limits seem to expand just enough to incorporate the peripheries of every place within it, but the city founded by the Waynes remains an unhappy island in which to atone for sins. It is modern and ancient at the same time, it is the decomposed sum of an unfinished revolution. 

She is overwhelmed by deceptions, by drugs, by crime. Nothing in it is as it appears: it unfolds like a twisted labyrinth between the slums, the puppet clubs, the dilapidated buildings. There is always a mystery behind everything that Bruce encounters: people, writings, gadgets, carpets.

If the "good guys" are pushed to fight animated by revenge, the "bad guys" (but not only) slip on the blades of the lie, and the whole narrative of The Batman is articulated in an interlocking puzzle to be solved. 

Considering that in the film our vigilante has been playing his hero role for just a year, collaborating with justice and playing detective, while facing the ghosts of his past and his presence at the same time, it is not surprising to track down in the film produced by Matt Reeves with Dylan Clark (with Michael E. Uslan, Walter Hamada, Chantal Nong Vo, and Simon Emanuel as executive producers) traces of origin story, noir, family drama.

Paul Dano, an unsuspected interpreter of Edward Nashton, aka the Riddler, is the perfect villain in a world that moves with followers and blackmail: a psychopathic nerd who clings to the disparity between social classes, blackmailing him with the truth that others hide and keep an entire community in check. 

His invisibility, his cunning, constitute the added value within a plot that otherwise would sin of simplism and instead knows how to wear on the eyes like a cigarette on the lips, lightening the weight of a minute that appears excessive only on paper.

The Batman Pirate Bay, The Batman The Pirate Bay, The Batman 1337x, The Batman Movieverse
The Batman The Pirate Bay

Robert Pattinson: the melancholy and strength of the hero

However, all the performers know how to be perfect in their own way, from Jeffrey Wright in the role of detective James Gordon to Alfred Pennyworth played by Andy Serkis, passing necessarily through ZoĆ« Kravitz, who lends the face to a Selina Kyle / Catwoman capable enough of looking after to herself, to add notes of sporadic altruism. 

But hurry to leave the scene to please (as per the character's tradition) the feline instinct of independence. The role of the corrupt Carmine Falcone fits perfectly with an always-excellent John Turturro, even if the most dazzling transformation is certainly attributable to Colin Farrell's Penguin.

Characters who move on the big screen, trying to shake off the heavy comic masks, all in their own way complicit in highlighting the half-hidden face of Robert Pattinson: his hard and melancholy features know how to leave room for the power that pervades his body and the weakness of his mind; they know how to be a blank canvas on which to superimpose a million other faces, guided by a profound sense of helplessness, justice and, of course, revenge.

The Batman Pirate Bay, The Batman The Pirate Bay, The Batman 1337x, The Batman Movieverse
The Batman 1337x

Michael Giacchino's score in The Batman: A Bath of Sacred Cruelty

To sprinkle The Batman with epicness and grace, more than William Hoy's perfect montage, more than Jacqueline Durran's costumes, is Michael Giacchino's soundtrack: dark and sensual, it pierces images in thoughts, sinking needles of immeasurable wonder. 

In a carousel of destruction, music favors evil and at the same time dissociates itself from it, acting as a torch in the darkness and leading us to a mutilated victory in which destruction coincides with light, with reconstruction. 

The soundtrack is surrounded by songs capable of supporting every sequence, from the electric chaos of disco to the sublime and sacred symphony of Schubert, whose Ave Maria recurs in key moments, compensating with prayers for the harm done to others.

The Batman, we said in the beginning, is a scratch: the nails of the narrative sink firmly into our eyes, into our ears. The world we live in, for about three hours, remains outside our heads, while all the sensations let themselves be anesthetized by the mute cry of a man who carries the cross of heroism, altruism, and justice on his shoulders. 

In the end, that man becomes something else, he tears apart his ego and penetrates into our world, he becomes one of us. There is no revenge, there is no fear, there is no rancor. It is only the cutting-edge history of the world which, torn to pieces, tries to recompose itself, to trust again.

The film will be in theaters on March 3, 2022, distributed by Warner Bros. Pictures.

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