Batman Returns Reviews

There were a lot of things that were excellent about this movie, like the cinematography and the performances, though it isn't as good as the first film. Michael Keaten is suitably brooding as the Dark Knight, better than George Clooney in Batman and Robin (considered as the worst out the franchise)though he is overshadowed by the villains, namely Danny DeVito as the Penguin, who looked as though he was having a ball, and brought a sense of sadness and grotesquesness to the role. Christopher Walken was effective also as Max Schrek. Stealing the show, with her flawless delivery of not-so special lines, is Michelle Pfeiffer as the sexy and manipulative Catwoman. The film looks lovely, with the sets and effects, and Tim Burton directs with detail. However the film does drag, and while there are some intelligent lines from the villains, the script could have been developed a little more. All in all, a dark and entertaining film. Whereas Batman Forever is funnier and more fast paced, Batman Returns is darker, but just lacks the sophistication of the first film. 8/10 Bethany Cox.

Paving the way for Christopher Nolan's fully-realised noir conceit of crime-riddled Gotham, Tim Burton's "Batman Returns" trounces every preceding version of the Caped Crusader's expansive sandbox. Gotham, as realised by Burton, is stylistically and visually reminiscent of German Expressionist cinema, albeit with flashes of kitsch and camp incorporated into the costumes and props, the sets swathed in snow, smog and shadows, all of which may seem incongruous, but once you are presented with it in action, it all coheres and works magnificently. With the arrival of his most well-drawn, complex adversaries, Penguin and Catwoman, the story takes place some time after the events of the first film with Batman assimilated into Gotham City as its resident masked vigilante.

Pursuing one such foe, Catwoman, sees Batman meet his match, and naturally, they develop a tenuous symbiosis in disguise and out. Catwoman, driven by a personal vendetta against ruthless businessman Max Shreck, slants Batman's moral compass, exposing his difficulty in separating an uncompromising obligation to Gotham and his underlying loneliness as Bruce Wayne. Crucial to this romantic dilemma is Catwoman's flirtatious sparring with Batman and her alter ego Selina Kyle's charged exchanges with Bruce Wayne. It is this sexual undertone and the over-arching theme of duality within the superhero mythos that elevates the film beyond mere comic book adaptation fare without substance. Anyone aware of the finer subtext of DC's greatest detective should recognise Batman as the dominant persona and Bruce Wayne the subterfuge - they are indivisible. This is a theory carried over to the rogues gallery's least represented villain, Penguin - abandoned at birth by his upper-class parents due to his physical deformity, a parallel of sorts that links him to all the first-born sons of Gotham, including Bruce Wayne. Tim Burton's affinity for misfits imbues his film with a discernible poignancy, thus elucidating and going some way to explain the motivations of Penguin, who is, despite his bizarre exterior and Machiavellian nature, a misunderstood victim of circumstance. On screen in the 1960s, the DC Rogues Gallery consisted of The Joker and then less formidable, easily overcome criminal outcasts he collaborated with written as two-dimensional opponents of Batman merely to fortify his strength and power as a morally upright hero. Penguin and Catwoman are as substantial and integral to the plot as Batman; these richly nuanced studies of the two expand and liberate the characters from their comic book trappings, peeling at the layers of their shattered psyches. It is simply a joy to behold Penguin and Catwoman as three-dimensional characters with hidden agendas marred by Batman's presence. Everything within that framework, the immensely evocative visuals, action-packed set pieces and astonishing performances, are of particular importance in establishing the filmmaker's strategy, which is primarily to satisfy the audience, but also provide comic book nerds with a low-key, understated Batman, far removed from any other in the lexicon in the sense that he is both wisecracking and stoic: an amalgam of the seriousness of the 1980s comics as well as the florid panache of the classic Adam West epitomisation. Batman's dependency on technology is more pronounced also, proving advantageous for his foil, who both form an uneasy alliance to destroy him by targeting these perceived strengths, only for Penguin's depraved nature to hilariously bring about its swift end. It is these additional strokes of genius with character development that allow the film to bypass all others in the canon. For example, this advance by Penguin also showcases Catwoman's newfound sexual magnetism in her slinky black suit, contrasting with her lack of success with men as Selina Kyle. It is extremely masterful screenwriting in motion, and it holds up remarkably well even after other writers have since caught onto the potential of fleshing out the back story of the more interesting villains the hero pursues.

"Batman Returns" was not as widely popular with audiences and critics as its predecessor owing to its strangeness, converging plotlines, stronger violence and sexual references. Suffused with humour in a black vein, the film's deeply rewarding screenplay courtesy of "Heathers" scribe Daniel Waters, is the vital component as well as its detriment; the reason it failed to connect with audiences on a universal scale is that such a packed narrative demands dissection as if it were a cult film - the attention to detail, in-jokes, and indelible lines recited. It is designed to be pored over as a standalone film or loose continuation of the 1989 origin story, not to be taken seriously as part of the wider mythology of Batman, it is so versatile in terms of tonality, it could fit into any category, even the Christmas movie. Demonstrating the tragicomic qualities of Bruce Wayne and his enemies more than any other incarnation, "Batman Returns" is an atmospheric microcosm of Burton's tortured Gothic sensibility and prevaling recondite zaniness that through commendable character work, indelible dialogue, astonishing set design, and a hauntingly romantic disposition rarely afforded to commercial cinema, is tempered and moulded into a great film loaded with much to explore if it elicits the same response in you as it does me.

It is rather funny that when I was a kid, I was really desperate to see the first Batman flick but somehow, I didn't bother to watch this one right away when it was released and I eventually saw it only years later. Anyway, it is actually pretty good and many think it was actually better than its predecessor. To be honest,  even though I really enjoyed it, I think the whole thing was actually rather messy. For example, what was actually the deal with the Pinguin? Indeed, he pretty much kept changing plan throughout the whole thing, first looking for his parents, then running for mayor and finally planning to kill a whole bunch of first born sons. On top of that, this time, in my opinion, it was not really a Batman feature anymore but more a typical Burton production with his usual dark and even at times lugubrious visuals. Still, the mood was pretty good,  I loved Catwoman who really stole the show and her twisted relationship with Batman was by far the best thing in this movie. I still think it was rather unfocused though, especially when you compare it to the previous installment, something common when there are so many bad guys involved in one movie. Anyway, to conclude, in spite of its flaws, it is definitely a pretty good Batman flick, no doubt about it, and it is definitely worth a look. 

'Batman Returns' is scarier, darker and more creative than 'Batman', did you know that about 90% of sequels are poorly received? Not this one, this one deserved to be a success, better acting, the introduction of Catwoman and a cast including Michael Keaton, Danny DeVito, Michelle Pfeiffer, Christopher Walken, Michael Gough, 'Batman Returns' is a terrifying awesome masterpiece with epic action scenes and very well designed sets

"Just relax. I'll take care of the squealing, wretched, pinhead puppets of Gotham!"

Three years following Tim Burton's brilliant neo-gothic reinvention of Batman for the big screen, the outstanding director once again preserved his incredible nightmarish version of Gotham City on film with the much-awaited sequel, Batman Returns. In tradition with the law of a highly successful film, executives at Warner Bros. demanded a follow-up. Thankfully, director Tim Burton returned to fulfil the directing duties, with the exceptional Michael Keaton portraying the title role. Batman Returns can't match the brilliance of Burton's 1989 Batman, but it certainly served its purpose at the box office. It's virtually impossible to dislike director Tim Burton. His unique talent for eerie films is amazing, and he immediately reminds me why I'm so fond of his previous films. From the moment his movies begin, Burton draws you in with morbid curiosity. The visually amazing initial shots of Batman Returns conform to this standard. The title sequence in particular is enough to have you completely riveted.

This sequel is unfairly maligned and pasted, but it's still a visual masterpiece. It's a lot darker and more malevolent than its predecessor. Humour and comic relief is in short supply. Instead, Burton opted to craft a Batman feature aimed at a more mature audience who will appreciate its darker tones. This sequel is a worthy addition to the Batman canon. It features plenty of nuances, breathtaking imagery and marvellous performances all around. It's also far more a tragedy of Shakespearian proportions than its predecessor, with its final moments reminiscent of Hamlet. Unfortunately, with less room to accommodate the infants the film is already inferior to its predecessor.

Thankfully, the fantastic vision of Gotham City is retained. Burton's production designer on the previous film stepped away, and in some ways this interpretation is far more visually intriguing. It's set at Christmas, and hence the snowfall coupled with the frequent night-time setting looks similar to Edward Scissorhands. Even more effective here is Danny Elfman's score. It's evocative, breathtaking and sometimes very touching. Elfman's unique Batman theme is a recurrent element of the score. During an action scene, or a sequence featuring Batman flaunting his wonderful toys, Danny Elfman's score is valuable and gratifying.

This adventure of Batman finds the Caped Crusader (played by the remarkable Michael Keaton) continuing his mission to rid Gotham City of crime. A mutilated human who calls himself the Penguin (DeVito) spent his life since childhood in the sewer; abandoned by his parents. As an adult he resurfaces to win the hearts of the citizens of Gotham City. While appearing as a heart-felt person, he's secretly plotting to overthrow Gotham City with his squad of circus freaks (who seem more like the live-action cast of Nightmare Before Christmas) as well as his army of penguins. The Penguin is assisted in his goals by megalomaniac Max Shreck (Walken). Also thrown into the characters is Catwoman (Pfeiffer) who appears to be on no-one's side but her own. Aside from an obvious plot concerning the villains, Burton unfortunately never implements a clear-cut plot which is hopelessly lost towards the film's conclusion. This is one of the few drawbacks on an otherwise fine Batman adventure.

A key element firmly holding Batman Returns together is the magnificent cast. Tim Burton is known for his seemingly odd choices to fill the cast...and they end up working tremendously well. Michael Keaton once again impeccably pulls off the dual role of Bruce Wayne and Batman. As millionaire Bruce Wayne, Keaton has a subtle charm and he's simply a shy man of few words. It's impossible not to love his version of the character. And as Batman, Keaton has the looks and the voice. Danny DeVito perfectly executes the role of the Penguin. No-one could have imagined someone like DeVito portraying a character so repulsive and grotesque. Needless to say, it's impossible to imagine anyone other than DeVito as the Penguin. The brilliance of DeVito's portrayal is successfully being sad and innocent in his con of the citizens of Gotham City, while revealing himself to be evil and deep as well. It's interesting to note that DeVito was actually feasting on a dead fish at times. Michelle Pfeiffer makes a fantastic Catwoman. Granted, her transformation is peculiar and makes little sense, but her acrobatic stunt-work and striking outfit almost overshadow this marginal fault. Then we have Christopher Walken as Max Shreck. Interestingly, this name is a slight reference to the classic vampire film Nosferatu. The title vampire was played by German actor Max Schreck. There is a slight spelling difference of course.

Batman Returns is skilfully paced, and it flaunts quality visuals. The sets are utterly amazing for numerous reasons. You have the array of settings meant for a lot of action to unfold, and then the miniatures for wide-angle shots of a fictitious city or area. These are brought to life with eye-popping special effects. Even today, Burton is one of the few directors who hasn't given in almost entirely to employing CGI. Burton's Batman Returns contains astonishing panoramic shots with some vastly dramatic dark-and-light contrasts throughout the film. There is plenty of action present in the film, as there is in every instalment in this series. Another fantastic aspect is Burton's wonderful use of animals in the film. I'm not sure what it is about seeing a flock of penguins running along the street with candy-cane striped missiles strapped to their backs, but it's absolutely hilarious and will have you giggling uncontrollably! Perhaps Burton didn't mean for it to be that funny, as the missiles were intended to foretell Gotham's impending doom, but these scenes are funny nonetheless.

Infused with quality filmmaking, enthralling visuals and tonnes of fun action, Batman Returns is a sequel that will long be remembered. In my opinion, Burton's contributions to the Batman franchise will look a lot better as time goes by. This is mainly due to its practical effects as opposed to over-the-top, cartoonish CGI and wirework. The film is immensely entertaining, and visually it's a masterpiece. Also worth mentioning is Danny Elfman's brilliant musical contributions that set an immaculate atmosphere. Although the plot becomes slightly muddled towards the end, Batman Returns is much darker than its predecessor, and very emotionally satisfying. It's not as good as its forerunner, but a terrific effort nonetheless. Followed by Batman Forever.

8.2/10