Matt Reeves' upcoming The Batman has begun filming, but the film's plot still remains shrouded in mystery; however a review of the director's previous films may shed some light on what audiences can expect from the upcoming DCEU film. After Ben Affleck stepped down from directing and starring, Reeves took over, deciding to work on a new screenplay and give the project a new direction. With its intended release of June 25th, 2021 still a while off, details have started to filter down, but a fair share of speculation is possible.
The film will star Robert Pattinson as the titular Batman (aka Bruce Wayne) with Jeffrey Wright as Commissioner Gordon and Andy Serkis playing Wayne's loyal servant Alfred Pennyworth. A heavy dose of criminal activity can be expected with Zoë Kravitz taking the role of Catwoman, Colin Farrell as the Penguin, Paul Dano as the Riddler, and John Turturro portraying crime boss Carmine Falcone. Peter Sarsgaard has also been added to the cast, but there has yet to be any confirmation as to who he may be.
With the casting announcements revealing an extensive use of Batman's rogues gallery, some have speculated that the new film may take story elements from writer Jeph Loeb and artist Tim Sales' classic comic The Long Halloween; however, this theory remains unconfirmed. Reeves has indicated that The Batman will be more of a noir film taking a deeper dive into the detective side of Batman, more so than previous iterations. This could be an entirely original story not extensively based on a pre-existing comic storyline. Many questions still remain, but taking a look at the other major films directed by Matt Reeves, there are certain thematic and cinematic motifs that will likely make their way into the latest installment in the saga of DC Comic's Caped Crusader.
The director's 2008's found footage kaiju film and viral marketing extravaganza, Cloverfield, could have easily been written off as a series of gimmicks, but amongst the motion-sickness inducing cinematography and massive destruction, Reeves made the film into a love story. Intercut with the night of the attack, there are glimpses of a single perfect day between two of the characters, adding an element of emotion amid chaos and disaster that may often be lost in a movie about a monster rampaging through Manhattan. It is not hard to imagine that level of personal connection to be interjected into The Batman, especially with the complicated relationship shared between Batman/Bruce and Catwoman/Selina throughout the history of the comics.
Visually, the film is dark and frenetic. Reeves keeps the creatures obscured in darkness and shadow, often shown from a distance until it is absolutely necessary to make an appearance. This would work well with Batman's fear-driven combat style as he works his way through Gotham, fighting both a physical and psychological war against evil. Ramping into handheld camera work for close combat sequences will give a jarring effect perfectly appropriate for his strike-fast philosophy.
While many people make a connection between bats and vampires, the biggest link between the upcoming DC film and Reeves' vampire movie Let Me In will likely be in the detective part of the story. Reeves' remake of Let the Right One In leans heavily into the concept of not everything being as it appears, something that may prove to be familiar in a story involving the Riddler — let alone one where the main character faces so many enemies — in which the hero must use his investigative prowess to figure out who is pulling everyone's strings. It is never entirely clear whether the intentions of Chloë Grace Moretz's vampire Abby are sincere or just beneficial to herself in the long run (or perhaps even a blend of both), something that could also be reflected in the link between Bat and Cat.
The Batman finds Reeves teamed up again with cinematographer Greig Fraser, who recently completed filming this year's Dune adaptation. Let Me In was shot using natural light sources, giving it a warmer, softer feel than Cloverfield, and while it is unlikely this would be the exact visual style to do it with, it is evidence of a versatility that could work well with contrasting the worlds of Bruce Wayne and Batman. Viewers can expect Reeves and Fraser to take a page from the film noir study guide and deliver the dark palette associated with a Batman picture; however, if Let Me In is any indication, they may also giving the scenes where Wayne isn't behind the mask a distinct, lighter feel of their own.
Dawn of the Planet of the Apes and War for the Planet of the Apes were both critically acclaimed and received accolades for their stunning use of visual effects. Capitalizing on advancements in motion capture technology, Reeves was able to bring a level of realism to the story's fantastic subject. No word yet on whether the Penguin will be as physically deformed as some portrayals, but if that is the route gone, it is easy to assume the transformation will be intricate and outstanding.
Caeser, as portrayed by Andy Serkis, struggles with his desire for peace and knowing when the time is right to protect the innocent, even though he understands the darkness that resides in the hearts of others. If The Batman takes place early in the crime fighter's career, a similar level of hesitation and altruism wouldn't be out of the realm of possibility. But even Caesar was pushed to the edge in Planet of the Apes and goaded into war by those around him. Bruce Wayne may put on the mask to be a symbol, but inevitably, he will be forced to be more than that to survive and save Gotham.
Reeves injects his films with a study of humanity in the face of disaster and monstrosity. This is a perfect match for Bruce Wayne's struggle with his true identity, especially when facing down as many villains as he will in The Batman. Joined by so many high caliber actors, expect to find a nuanced character study blended together with a bombastic action epic.
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