2020-2029, Film Review

The Batman (2022)

Posted on February 28, 2022August 8, 2025 by Martin: Through the Silver Screen

The Batman – Film Review

Cast: Robert Pattinson, Zoë Kravitz, Paul Dano, Jeffrey Wright, John Turturro, Peter Sarsgaard, Andy Serkis, Colin Farrell

Director: Matt Reeves

Synopsis: In his second year of crime-fighting in Gotham City, Batman begins to investigate a series of crimes that appear to be connected to a serial killer known as The Riddler…

Review: Ever since the character of Batman made his comics debut in 1939, there has been something inescapably appealing about this iconic character. It’s a testament to Batman’s creators Bob Kane and Bill Finger, that in the ensuing decades, his popularity has not waned (pun absolutely intended). For generations of comic book fans, he has remained arguably the most recognisable and popular superhero of all time. Given the character’s popularity, it’s no surprise that numerous directors have taken on the challenge of adapting him for the big screen. Over the years, we’ve seen the sublime and the ridiculous. Now, under the vision of Matt Reeves, a fantastic new interpretation of the Dark Knight has been born.

Bruce Wayne (Pattinson) is in his second year of fighting crime in Gotham City as the masked vigilante known as Batman. Gotham is a city that’s seemingly trapped in perpetual rainfall, combined with the murky cloud of the city’s extensive criminal underworld. It’s a grim combination that gives Gotham an ominous, foreboding atmosphere, where crime is running rampant and the police are overwhelmed. When a series of brutal murders start taking place in the city, Batman and the Gotham City Police Force begin to investigate. As they begin to piece together the sadistic clues left behind at these grisly crime scenes, they begin to uncover evidence that all of these crimes are linked to a masked serial killer known only as The Riddler.

Donning the Bat’s cape and cowl is an extraordinary responsibility for the actor to take on. Many great actors have taken on this challenge, and every time, each one has brought something unique to the role. With Pattinson’s portrayal, he proves what an outstanding choice he was to take on the mantle. Batman is a character who has multiple aspects to his personality, the man he is behind the mask is a very different one to the one who dons the mask. Any actor tasked with this role must differentiate between these personalities, and Pattinson hits the mark perfectly. However, the casting of Batman is just one piece of the puzzle. One cannot have Batman without his trusted Police ally, Jim Gordon. Side by side with Batman as they solve this riddle, Wright brings his usual charisma to this role, and the pair of them make an effective crime-fighting duo. Plus, one cannot talk about Bruce Wayne’s allies without mentioning Alfred. It’s rare to see him outside of motion-capture performances, but in what screen time he has, Andy Serkis excels.

Casting is such an important part of film-making and it’s high time these people were recognised for their work, especially when the choices, like in this film are flawless. Selina Kyle/Catwoman is always a nuanced and fascinating character to explore. Not quite a hero, but far from a villain, especially when compared to some of the citizens of Gotham. We see a very interesting element to her backstory that’s seldom been explored before, and the chemistry between Kravitz and Pattinson’s Batman is extremely palpable. Of all the iconic superheroes that have graced the big screen over the years, there’s arguably no superhero that has quite as an eclectic gallery of villains as Batman. Though we’ve certainly seen some villains more than others. Hence, it is extremely pleasing to see the film bring to the fore many villains that haven’t had as much exposure as others.

Caking an actor in a considerable amount of makeup is not a guaranteed recipe for success, but in this instance, it works perfectly. Unrecognisable under said makeup as the dastardly Penguin, Colin Farrell is clearly having a ball with this villainous role. However, in Paul Dano’s portrayal of the Riddler, here’s an extraordinary, terrifying performance that is destined to join the ranks of iconic villains that we have seen in Batman films over the last several decades. From the moment the Riddler makes his first appearance, he immediately sends chills down the spine, delightfully taunting Batman and the Gotham Police with the crimes he’s carrying out. Plus, with all the clues that he leaves at the crime scenes, it makes for a fascinating game of Cat (or should that be Bat?) and Mouse as Batman faces a race against time to solve these clues and figure out what The Riddler is planning.

After his extraordinary work with the two most recent Planet of the Apes films, self-confessed Batman fan Matt Reeves proves he was the perfect choice to helm this new take on this character. The script, written by Reeves and Peter Craig, remains gripping right throughout the 175-minute running time, whilst perfectly illustrating that Batman’s skills as a detective are second to none. Hence, the decision to pit him against the Riddler was proved to be an absolute masterstroke, as he’s a character who is well equipped to take on Batman in those psychological mind games. Combined with Greg Fraser’s suitably brooding cinematography that captures Gotham’s ominous atmosphere, Reeves’s direction, especially with those action scenes that are drenched in a continuous downpour, is especially thrilling. For a film that’s just shy of three hours, questions are always going to be asked about that run time, and the editing by William Hoy and Tyler Nelson ensures that the film is perfectly paced.

Through all the decades that we’ve seen Batman on screen, there’s been no shortage of memorable scores that have accompanied the Caped Crusader. Danny Elfman and Hans Zimmer have both given this character an instantly recognisable theme. With his atmospheric score, Michael Giacchino can add his name to the list of composers who have provided iconic music for this character. Through each new portrayal, the enduring appeal of Batman has been passed down through generations of audiences. With this fantastic new incarnation, the legend of The Dark Knight continues to shine brightly, like the Bat signal illuminating the skies of Gotham City. Bob Kane and Bill Finger would be immensely proud.

Dark and filled to the brim with nerve-shredding scenes that perfectly capture the essence of everything that makes Batman who he is. Matt Reeves’s vision of this iconic character will stand the test of time as one of the best versions ever produced.

2020-2029, Film Review

Tenet (2020)

Posted on August 29, 2020August 29, 2020 by Martin: Through the Silver Screen

**Image is property of Warner Bros and Syncopy**

Tenet – Film Review

Cast: John David Washington, Robert Pattinson, Elizabeth Debicki, Kenneth Branagh, Michael Caine, Aaron Taylor-Johnson,

Director: Christopher Nolan

Synopsis: A CIA Agent is recruited into a top secret program of international espionage on the trail of the possession of technology that can invert time…

Review: 2020 will certainly go down as one of the most unprecedented years in recent memory, as cinemas and many other businesses lay empty for many months. However, in those long months that the projectors were switched off and the screens remained dark, there was one film that was continuously being talked about as the film that would trigger a revival for the cinema industry. The new film, from a director who is a firm champion of the big screen, was being pitched as the film to goad audiences back to the cinema. While its taken its time to arrive, with a few shuffled release dates en route, in a world that will remain uncertain for the foreseeable future, one thing remains abundantly clear. Christopher Nolan hasn’t lost his ability to create a completely unique piece of cinema.

In a world of international espionage, the Protagonist (Washington), armed with only the use of a single word “Tenet”, must venture into this dangerous and complex world, with the goal of preventing a global catastrophe from occurring. While this sounds like your typical spy/espionage thriller, but in Nolan’s hands this is anything but. The key twist is that in this world, it’s one where cutting edge technology to invert objects through time has been invented, threatening the world with as one character says “something worse” than a nuclear Armageddon.

With Nolan’s previous filmography, he has shown a liking for dabbling with the concept of time and all of the mind-bending possibilities that these offer. Memento was his original head-scratching masterpiece, and amid further exploration of time with the ambitious Interstellar, and the ingenious inter-weaving of three inter-connected events of Dunkirk. Though with Tenet, this is perhaps is most ambitious exploration of time to date, if this was somehow even possible. Packing a lot into its running time, the plot keeps things moving at a fairly brisk pace. However, there are times when so much happening at once that the audience barely has time to stop for breath. Hence, keeping up with the film’s super complex time-bending narrative will almost certainly be a challenge.

Yet, for all the complexities that Nolan’s script throws at the audience, it is a challenge, but it is a rewarding one. The director’s previous films have certainly gone ambitious with many of its action set pieces, and Nolan does his best to outdo himself with a number of extremely ambitious, and well-directed set pieces that’s certainly going to get the pulses racing, and make the audiences’ brains go haywire. In terms of his cast, Nolan has once again delivered an exquisite collection of characters. Following his star turn in BlacKkKlansman, John David Washington delivers another excellent leading performance as the film’s Protagonist. Possessing his father’s charisma in abundance, he brings his own suave almost 007-esque charm to this leading role in a tentpole blockbuster, that will only further his reputation as a leading man. Alongside him, Robert Pattinson continues to forge his own exciting career path. Much like Washington’s Protagonist, he carries a likeable presence, whilst boasting charisma and charm to boot.

While the protagonists certainly carry likeable auras, Kenneth Branagh’s turn as the intimidating Russian oligarch who’s seeking the time-twisting technology, is anything but likeable. His performance is fittingly ominous and menacing, there’s a dark and scary history to this man, which is substantially explored in his abusive relationship with his wife Kat (Elizabeth Debicki). On paper, This is a role that could have been extremely problematic, as it runs the risk of making her into a tired and cliched damsel-in-distress. However, with an actor of Debicki’s immense talent, she gives an excellent performance. There’s no shortage of substance to her character and she’s thankfully given enough material so that she has doesn’t fall into that damsel-in-distress cliche.

With long time collaborator Hans Zimmer unavailable, Ludwig Goransson steps in to fill that void, and he does so in spectacular style with a score that fits the fast paced nature of the film. Though impressive as it maybe, it can at times be almost too overpowering, making the dialogue difficult to understand in places. While its plot is undeniably complex, with a lot to digest, there’s no denying that Christopher Nolan remains one of the most unique and visionary directors working today. When the day comes that we’re all freely able to go back to the cinema without any risk, the work of these visionaries must be supported and championed. We’ll just need to make sure we don’t run into any time inverted traps along the way.

It wouldn’t be a Christopher Nolan film if it wasn’t mind-bendingly complex. Yet through it all, the visionary director has once again crafted something extremely unique and compelling. The film industry is certainly a much more interesting place with directors like Nolan in the business.

2010-2019, Film Review, London Film Festival 2019

The King (2019)

Posted on November 1, 2019November 1, 2019 by Martin: Through the Silver Screen

The King – Film Review

Cast: Timothée Chalamet, Joel Edgerton, Sean Harris, Lily-Rose Depp, Robert Pattinson, Ben Mendelsohn, Dean-Charles Chapman

Director: David Michôd

Synopsis: Following the death of his father, a young Prince succeeds his father as King, and immediately finds his rule under threat from internal politics, and the ever-present threat posed from across the English Channel…

Review: The world has undoubtedly changed in the several hundred years since the times of medieval politics. However, what hasn’t changed is the squabbling and backstabbing that goes on behind the scenes in politics and policy making in governments the world over. Though, it has to be said that considerably less swords are now involved. Though that hasn’t prevented this era from being dramatised quite a few times, most notably in recent times by Netflix. After 2018’s Outlaw King, with sword in hand, they are taking another swing at crafting a compelling medieval drama.

England has been at war for many years, and as such, a considerable proportion of the country’s resources are crippled. With the current king Henry IV (Mendelsohn) approaching the end of his life, he seeks to appoint his successor. Through not initially his first choice, his son Hal (Chalamet) is eventually crowned King, becoming Henry V. Having previously expressed little desire to assume the throne, the young King finds many obstacles in his path, from within his own circle to the prospect of invasion from foreign adversaries, all while finding out what kind of ruler he wishes to be. Shortly after being crowned, he is the recipient of a rather derogatory and insulting gift, which prompts the young King to have to decide if he wants to continue going to war.

Given that much of the film is on his personal struggle on his ascension to the throne, such a role would require an actor of immense stature to play such a Kingly figure. Chalamet is certainly a very capable actor, and while he gives it his all, but you can’t help but wonder if this was a role that was came too early on for him in his career. He certainly puts everything he’s got into the role but unfortunately for him, his performance is a bit too one dimensional and lacks that aforementioned stature and charisma that such a King should have in his armoury.

Though like any good King, he has some capable aides by his side, and its these performances that give Chalamet a run for his money. Most notably the jovial, and consistently entertaining John Fastolf (Edgerton). Similarly for William Gascoigne (Harris) who despite being a loyal adviser to the new King, has a personality and a demeanour of a man who you should keep a close eye on. Though on the opposite side of that coin, Robert Pattinson as the leader of the opposing French army really sticks out like a sore thumb. He’s certainly a capable actor, but unfortunately he provides some (perhaps inadvertently) comedic moments. His extremely dubious French accent leaves an awful lot to be desired, and one can perhaps question as to why a French actor was not hired for the part.

French actor or not, there’s clearly no expense spared on the production design, nor the costumes, and these help to bring an air of authenticity. From a technical perspective, the battle scenes are extremely well executed. With Michôd’s solid direction, and Adam Arkapaw’s impressive cinematography, they are by far, the highlights of the film. Yet, while the battle scenes are consistently entertaining, they are not nearly as enthralling when compared to the likes of HBO’s Game of Thrones. Unfortunately, what really lets the whole film down is a mixed bag of a script. Given that it’s a very loose adaption of the works of William Shakespeare, there was potential for greatness. While, it certainly has its moments, it ultimately falls short of providing a riveting narrative, that would make the audience bow down in wonder.

There’s some excellent technical aspects that deserve to be hailed. However due to a somewhat melodramatic leading performance and an indifferent script, The King does not earn the Crown it clearly covets.

2010-2019, Film Review, London Film Festival 2019

The Lighthouse (2019)

Posted on October 7, 2019March 4, 2025 by Martin: Through the Silver Screen

**Image is property of A24, Focus Features and Regency Enterprises**

The Lighthouse – Film Review

Cast: Robert Pattinson, Willem Dafoe

Director: Robert Eggers

Synopsis: Tasked with maintaining a lighthouse on a remote island, two lighthouse keepers find themselves in an increasingly desolate existence, desperately striving to maintain their sanity…

Review: How would you cope with the unforgiving isolation of living and working on such a small patch of land? With day after day of heavy, exhausting work in the most brutal, relentless weather conditions? Granted, the wonder of modern technology would make that situation in today’s world much less depressing. However, for the two souls at the heart of this barmy tale from Robert Eggers, with no such technology at their disposal, it will be the ultimate psychological battle to keep their composure, and sanity in one piece.

Set on a remote and desolate New England island in the 1890s, after an introduction that establishes an extremely ominous and tense atmosphere. The two, initially nameless, lighthouse keepers (Pattinson and Dafoe) are tasked with the maintenance and upkeep of the lighthouse. As their assignment begins, the brutality and unforgiving nature of their living conditions begin to take an extremely heavy toll on both men. The longer that they spend on the island with no other company but each other’s, the more the two of them find themselves being driven slowly to the brink of madness.

After unsettling audiences with The Witch, Robert Eggers continues that streak with another deeply unnerving psychological drama. By shooting in a 4:3 ratio, in black and white, he enhances the feeling of dread and suspense that builds from the very first shot and continues to linger, like a pesky seagull that’s got its eyes on your food and refuses to leave you alone. The extremely ominous score enhances that feeling of everlasting dread, as these two men are put through the most intense psychological test. With Jarin Blaschke’s portentous cinematography, Eggers’s direction is masterful. The way he chooses to position the camera, and with some of his directorial choices, there’s a foreboding, sinister atmosphere that is maintained right throughout the film.

Given their immense talent as actors, it should come as no surprise that Robert Pattinson and Willem Dafoe give hypnotically magnificent performances. The relationship between them starts off on good terms and there’s a mutual respect. However, this doesn’t last as with each passing day of their solitude, it all begins to unravel. As both of them appear to be hiding something from the other, they both try to maintain their composure and sanity, all the while the distrust threatens to erupt into violence. The film screams volumes about themes of isolationism, and loneliness, and conveys them in an extremely unique manner. The tension builds to such a frightening extent that you could probably cut it with the bluntest of knives. With a script co-written by Eggers and his brother Max, there’s certainly an idiosyncratic factor to the events that unfold. Though while these may provoke emotions ranging from awe to dread, the magnetic performances will keep your attention on the screen.

Some of the actions depicted on screen will likely make you laugh, or wince in horror, or maybe a combination of the two. Furthermore, with undertones of a not-very-subtle nature, this film is most assuredly not for everyone. While the dialogue can be quite tricky to understand in places, Eggers has crafted a film that’s wholly original and extremely unique in terms of its production. With only his second feature film, along with the likes of Ari Aster and Jordan Peele, Eggers has firmly stamped his mark on the horror genre, whilst simultaneously ensuring that any job applications for a vacant lighthouse keeper position may potentially diminish as a result.