‘The Batman’ Soars: A Tale Of Revenge and Renewal

Batman has always been mysterious to me, perhaps even as mysterious as he is to the residents of Gotham.

Maybe it’s because I’ve been invested in Marvel superheroes since the age of 8, when I first saw Tobey Maguire as Spiderman, or because I only saw “The Dark Knight” for the first time this past January. Maybe there were just so many versions of Batman that I simply lost interest.

So when I was told that “The Batman” starring Robert Pattinson was “the most amazing Batman ever,” I bought a ticket with an open mind. Three hours later, I left the theater speechless — and confident that Pattinson’s Batman had indeed outshone those of his predecessors.

Directed by Matt Reeves, the film opens with a rendition of “Ave Maria” that’s haunted me for days. Batman’s already been thick in the vengeance game for two years. Scarred by his parents’ murder when he was a child, he has made it his mission to protect the residents of Gotham.

Along with some impressive technology and gear, fear is possibly the most potent tool on this Batman’s belt. The illuminated bat signal in the night sky is not just a call for him, but also a warning to the city’s cesspool of criminals.

But even as their fear of Batman sends criminals scurrying back to the shadows, a new and enigmatic figure emerges in the form of The Riddler (played by Paul Dano).

Unlike many comic book villains, The Riddler isn’t out to destroy a city for fun and profit. He is furious at Gotham for its unfulfilled promises of renewal. His rage is palpable in the eyes that peer through his glasses, perched atop the Army weather mask that hides his face. Here is a masked man intent on unmasking the corruption on which Gotham profits.

Beyond the villain and the vigilante, a third figure, Catwoman, emerges from the shadows.

Zoe Kravitz’ Selina Kyle/Catwoman has been damaged by a crook, and left to fend for herself. She teaches herself to be a cunning master of disguise at ease in all worlds, slipping into Gotham’s underworld to gain intel just as easily as she infiltrates a politician’s estate.

Gotham’s body count builds. The Riddler’s clues taunt Batman into uncovering the city’s closeted skeletons. And as he digs deeper, Bruce Wayne is forced to confront not only Gotham’s shameful acts, but also his own role in igniting The Riddler’s reign of terror.

With shadow-ringed eyes and  a hoarse voice, Pattinson does an exemplary job of bringing depth to DC Comics’ revered antihero.

Dano creates a worthy opponent in his role as The Riddler. I was shaken by his performance ­— his research on the Zodiac Killer for this performance was effectively channeled.

Several other Batman villains show up in “The Batman.” John Turturro is a soft-spoken wolf in sheep’s clothing as Carmine Falcone. Colin Farrell was unrecognizable as Oswald Cobblepot, producing what I believe was one unparalleled Penguin.

As for supporting heroes, Jeffrey Wright’s James Gordon was yin to Batman’s yang.

Yet what really stood out in this rendition of “The Batman” was not just its compelling storyline, carefully curated cast or haunting score. What I recall most vividly is what I felt leaving the theater. In a time of citizens navigating a path away from darkness and violence, I left “The Batman” feeling something I’d never expected from a DC Comics movie: hopeful.

“The Batman”has been held over at The Moviehouse in Millerton, N.Y. Go to www.themoviehouse.net for information. It will eventually be available on HBO Max.