New Warhorn Media post by Nathan Alberson:
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Speaking generally: outside of the âgrimdark hate itâ/âwoke hate itâ twin Internet reflexes, this movie seems to have generated a lot of fun discussion and speculation, as any landmark Batman film should. Iâm really enjoying that. The movie itself was enthralling in the first hour, and suitably entertaining after that. Catwoman is certainly hard to get right in a good film and I really appreciated they had her walk back into the club at physical risk instead of giving her Batmanâs assault sequenceâa lesser movie would have done it. Though I didnât care for the kisses, I did like her looks up at Batmanâs face quite a bit and Reevesâ framing on her face reminded me of the use of Alex Garlandâs muse Sonoya Mizuno in Ex Machina and Devs.
And man, the score! Compare that to the âcritically acclaimedâ distracting one in Joker. This is a real working score, memorable but in total service to the movie.
As for the themes: the movie tries to replace fatherhood with a more flexible non-vengeant/non-toxic heroism that the mayorette, Bruce, Gordon with no direct reports, and Catwoman can embody. The two most obvious fathers in the movie, Falcone and the mayor, are corrupt and lose their positions due to attacks from outside their families, giving their children freedom to redefine themselves (not what children should typically aspire to.) Alfred comes off best by giving his âsonâ course-correcting guidance from the hospital bed.
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