Robert Pattinson and Matt Reeves’ first teaser, The Batman, promises a Dark Knight Detective film that is not positioned as the biggest superhero epic of the moment.
That Matt Reeves has named Darwyn Cooke’s Batman: Ego as one of the main inspirations for him and Mattson Tomlin’s The Batman is encouraging, because this one-shot is a dark and psychologically introspective melodrama and in the end (as Batman Begins) is positive and inspiring Bruce. Character game focused on Wayne. We had the first teaser of The Batman at the Fandome in DC last night, and what’s surprising is how much he plays as the antithesis of a hit movie. That’s not to say that it may not raise a lot of money when it premieres in October 2021, but it turns out it promises everything several enthusiasts have been looking for since the 1990s, namely a Batman movie that doesn’t sell as the biggest superhero epic. of the moment.
At first glance, the photographs look like a combination of Batman Begins shots and a more detailed variant of Gotham, which is just the result of the fact that many other people have been betting on the sandbox of “Dark/Genuine Batman”. since at least 1989. Of course, Gotham stepped forward when he left behind the overall genuine (of the second season and culminating in the fourth season), however, the film’s sensibility “is as if Batman meets Se7en and Saw” would be perfectly compatible with Fox’s gruesome and violent television show. Whether or not Reeves’s crime story, Robert Pattinson, ends in an R rating, the carnage in Gotham (perpetrated against innocent passers-by) would certainly have an R rating if assessed through the MPA.
I would say that the brutal and intense violence presented through Dawn of the Planet of the Apes and War for the Planet of the Apes is more than enough for the director to make the Batman film he needs to make while remaining in the realms of PG-13. More appealing than that, the story is about a serial killer (who would or possibly not be Paul Dano’s riddle) whose series of murders leads to systematic corruption and/or interactions with other Gotham villains, adding Catwoman from Zoe Kravtiz and Colin Farrell’s Penguin. . It turns out to be the “Dark Knight Detective” movie, at street level, that many of us are asking for. This is the perception of a Batman movie as ‘just a movie’.
I don’t know how much The Batman will charge, however, it’s pretty imaginable that the probably dark and ingrained city of Reeves charges more than $125 million like $185 million. In fact, it’s transparent that DC Films is looking to diversify its film production, so that every movie isn’t a potential mega-dollar box office hit. And if they’re most likely to offer smaller movies like Joker ($63 million), Birds of Prey ($83 million) and Shazam! ($90 million) with only periodic posts (Aquaman, Wonder Woman 1984), well, that would be a way to allow a series of films that don’t feel tied by advertising expectations or formula requirements. And yes, that means you can check your luck in “Batman vs. Batman. Jigsaw.”
The Batman films from 1989 to 1997 were necessarily the Star Wars/James Bond films of their time, as they were the most important and vital moments of their time, providing a point of excitement and spectacle that could not be achieved anywhere. Other. As such, when Batman returned to Batman Begins, the franchise had to heal the wounds of a hated Batman and Robin and exist in a world where the mere concept of a Batman film (without marquee actors as marquee villains, nothing less) is not automatic. Event. He earned “only” $371 million worldwide on a budget of $150 million, even though A) included $205 million national B) enjoyed through the public and criticism with a healthy post-theatrical life.
While The Dark Knight played as the ultimate sequel to the escape, it gained enthusiastic reviews, capturing the air of the time and earning $1.004 billion internationally (including a more productive moment then: $533 million nationally) with a budget of $180 million. However, Batman Begins’s low-incomes demonstrated that the mere concept of a grounded and dark Batman film, even one played as a delicious adventure movie, was not automatically a main event. And that The Batman, where the biggest heartbeat of the action is Pattinson moaning about a random henchman, turns out to be even less a full-scale display or is (pessimistic) an overconfidence in intellectual assets or (optimistically) an admission that the audience has had many of the “successful” Batman films.
Continuing this “optimistic” idea exercise (Reeves would possibly be as intimate as Let Me In or as big as Cloverfield on his whim), this is another example of how we see the audience offered only to the great specific characters, similar to the kind of COMIC DC/Marvel superheroes, even if we implicitly cheer them up for not having fully embraced the dc-driving mindset. We spent $1.073 billion (without a penny from China) on Joker and are thrilled with Deadpool’s $58 million romantic comedy, while greeting DC Films over Shazam’s horror sensibility to children! and the aesthetics of “Guy Ritchie sniffing too much cocaine” by Birds of Prey in Quentin Tarantino. However, the general customer would not be surprised to see the original article in a movie theater.
It’s fascinating, in terms of the passage of time and how defeated we are through those once weird mega-budget movie shows, make The Batman exciting exactly for what it isn’t. It is a Batman film that is explicitly sold as not the biggest movie of the year or even the post-summer/pre-Christmas season. He sells himself as a high-quality serial assassin mystery starring Batman and his supporting cast, which is a good example of approaching superhero movies as a genre and an unthinkable evolution for a character who once explained the highest-end. making highly successful movies. However, The Batman premieres on October 1, 2021. To the extent that it resembles Gotham or The Batman (the 2004 toon), I hope it will be closer (respectively) to the fourth season than to the first.
I studied the film industry, both academically and informally, and with an analysis in the workplace, for almost 30 years. I’ve written a lot about everything
I studied the film industry, both academically and informally, and with an analysis in the workplace, for almost 30 years. I have written extensively on all these topics over the more than 11 years. My media for film reviews, workplace reviews and film bias scholarships have included The Huffington Post, Salon and Film Threat. Follow me on @ScottMendelson and like The Ticket Booth on Facebook.