Instead, when we join the young, reclusive Bruce ( Robert Pattinson), he’s already more than 12 months into what he calls in his typewritten notes his “Gotham Project” – less a lavishly funded campaign of vigilante justice than a gap year that got out of hand.īy night, Bruce combats low-level street thuggery – an early sequence shows him breaking up a mugging – while also serving as an informal private-eye partner to Detective James Gordon ( Jeffrey Wright), a brow-furrowing Popeye Doyle type on the Gotham police force. There are no square-jawed existential crises here, nor fantastical gadgetry, and certainly no more Crimewatch recaps of poor old Thomas and Martha Wayne getting shot in an alleyway outside the theatre. But director Matt Reeves, of the two most recent Planet of the Apes films, has come up with a corker of an angle: a sprawling and sinuous urban detective thriller, with the intricately unhinged red-wool-on-corkboard plotting of classic film noir. Since 1989, five live-action Batmen of varying looks and temperaments have already slunk in and out of our cinemas, and you would be forgiven for wondering if there were any fresh approaches open to a sixth. Like the Ripper and the Bogeyman, Gotham City’s leading superhero has now formally adopted the definite article, perhaps to give his personal brand a new murky, folk-devilish edge. Not just a Batman, mind you, but the Batman.
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