★★★ The good thing about Batman is that his humanity allows filmmakers to “make their own” with each movie. We can talk about Tim Burton’s Batman or Christopher Nolan’s (and discard Joel Schumacher’s). We can also talk about Matt Reeves, who attempts in this version an absolutely paradoxical game: reproduce the prismatic game of comic book design (panels) and achieve immersion in the world through two factors: constant darkness -which it reflects, as in a good melodrama, the mood of its creatures- and an almost subjective camera. There are moments of great visual invention (Batman lit only by gunfire; the subjective prologue that preludes and mirrors the hero’s story) etc. And the debt to that great cartoon that was Year One, by Frank Miller, is clear. Pattinson is a Batman who often fails, still far from the Best Detective in the World. The story has resolutions of monumental clumsiness, typical of failed creative writing students (an audio recorded in a torture session by the victim, for example) with a lot of messy ad hoc and inconsequential sequences (the Batmobile chase? visually, useless narratively). Those clumsiness dissolve the impact of a world that could be moving if only someone had corrected what was written before going to the screen.
