Batman Begins

Nolan's trilogy logically begins with Batman’s origin, which had been neglected to such an extent up until then. Today the situation is a bit different, but it was not a bad move then. Batman needed a revival and audiences needed to forget the last film of the last series, Batman & Robin. Nolan relied on good actors and a realistic style within reason. This was yet another contribution to the great family of DC films and helped bridge a decade when the style of the genre was changing fundamentally. (04/05/2022)

This is how it should have been. Finally, someone was found who rectified Burton's embarrassing blunders (not to mention Schumacher's botched "closure" of the series). This is the true Batman, the dark knight beneath the mask, with a cape hanging on his back and an uncontrollable resentment in his heart. Few could have been a better Bruce Wayne than Christian Bale. The hero of Equilibrium managed to improve his acting expression even further, and whenever he hesitated or became furious, a shiver ran down my spine. But the main hero here is Christopher Nolan and the team of screenwriters who managed to create precisely the atmosphere that the first episode of a comic book series should have. An exhilarating 90% and a final wink with the promise of the unexpected... (10/07/2005)

Visual wizard Burton created a legend, master of the film narrative Christopher Nolan found motivation for it. That's how simple the prequel to Batman, the comic book legend that took deep roots on the film screen, works. Strange fools tried to build on the first two classic films, but the result is the fact that Nolan saves the extinguishing legend, and it must be said that he saves the faith in a big way. His sober, realistic, dark and psychological ride impacts the viewer especially in the first half of the director's well-known aces: superbly sorted narration, suggestiveness, carefully sculpted acting performances (e.g., the episodic scene in the opera is a masterpiece!). The second, much more action-packed half, in which the symbol is already created and it is time for battle, is not as dazzling, because where Burton pulled out heavy visual calibers, Nolan is a little clumsy after all (especially the action scenes suffer from too much confusion). But: Batman comes out victorious in the closing stages and his director with him. Simply because, beneath the mainstream of the remediated comic cliché of the struggle of good against evil, there is a well-regulated underflow that has depth. It's the psychology of a hero, an anatomy of fear and evil that wants to do dubious good. The tool of the lower stream is both the magnificent rhythmization of the shots and the gradation of inconspicuous tension, as well as the excellent acting performance. Christian Bale is truly the best man in the black mask, Michael Caine is truly irresistible with his dry cynicism, Liam Neeson is "just" persuasive and Gary Oldman is unrecognizable... The very awkward Katie Holmes is unfortunate, but she gets lost in the mix. I wouldn't open the question of whether Nolan had surpassed Burton at all. His Batman is different. It has a completely unique atmosphere and a completely unique style. He prefers to look in the face over wild gunfights. That's a good thing, but after all, it brings a certain and understandable inner contradiction to the film, the bearer of which is the somewhat torn direction. Among comic books, however, Batman confirms the position of a true nobleman, and Nolan confirms that "ex-independents" manage to do the impossible – to film intelligent and non-prefabricated spectacles for Hollywood. ___ after the second viewing, I am clearly itching to give it full stars. All of my objections apply, but not that much, and the film improves upon a second viewing... (20/07/2005)

Batman Begins is a terribly clever piece of work. For movie lovers, or people who are more into film, it muddies the waters with awesome acting aces (Tom Wilkinson is a god, Michael Caine is a god, Cillian Murphy is a god, Liam Neeson is a god, Gary Oldman is less of a god here than usual, and Rutger Hauer's godliness didn't get a chance to shine through), topped off with some great cinematography, a terrific score, and Nolan's deft hand. I mean, I have my complaints about the direction, of course, because to shoot 150 million hand-to-hand battles in a comic book movie like in a Steven Seagal movie (meaning a short montage of close-ups) is kind of yuck. But still ok. The problem is that all of the positive factors listed above are just tinsel on top of a supremely idiotic script about a battle between (absolute) good and (absolute) evil. Really all the positive characters here are dehumanized by perfection, and the negative ones (except one) have no other side whatsoever. It's not fair, and it blows the proclaimed darkness completely out of the water. That's like writing that LoTR is a noir film. It's classic American blockbuster hypocrisy, meaning there’s no lack of monorails falling on a town of people whose lives no one cares all while Batman’s coming up on police cars even though he has plenty of space next to him to see if they’ll move. And move they shall, but Batman Begins can’t dodge a mediocre rating from me. Sorry. (21/07/2005)

The thing that has always fascinated me most about the character of Batman is how controversial his film adaptations can be, or rather, how perfectly they can be screwed up. I've never been very interested in Burton's versions, I felt they were too colourful farces with many bizarre characters that looked borrowed from his other films, and I preferred to avoid Schumacher's infamous vision for good due to the horrible and mocking reviews, But Nolan? He showed here his exceptional skills and level... Some individuals, too spoiled by repeated viewings of the other two episodes (myself included), which possess a far greater dose of narrative innovation, a more noticeable aura of physical menace, and a more atmospheric Zimmer soundtrack, rightly consider Batman Begins to be the director's weakest effort, but that doesn't change the fact that as a grand opening to the most epic comic book saga since the turn of the millennium, these 140 minutes, and every second of them, work absolutely brilliantly. The first half, marked by flashbacks and time jumps, is masterfully orchestrated so that the viewer never loses track and is drawn into the plot – still built on a series of clichés uncharacteristic of Nolan – while the second half is a comic-book action romp, the epitome of Batman, with everything we imagine when we say his name. The fight scenes are a bit muddled at times, but they have an orgiastic visual charge, Zimmer is very much felt and the actors, led by the charismatic Bale, play their parts with a gusto and precision unprecedented for a blockbuster. As part of the series, 4*, but as a standalone film, it’s clear... 90% (29/07/2012)