For Bruce Wayne is a deeply troubled man, let there be no doubt, and if ever in exile from his heroic role, it would not surprise me what he finds himself capable of doing. In his two Batman movies, Nolan has freed the character to be a canvas for a broader scope of human emotion. The movie works dramatically in addition to being an entertainment. I said this is the Batman movie I’ve been waiting for more correctly, this is the movie I did not realize I was waiting for, because I didn’t realize that more emphasis on story and character and less emphasis on high-tech action was just what was needed. “Just don’t point it at my bedroom,” Bruce Wayne chuckles. There is a moment in the film where we learn that the new telescope in the Gotham Observatory can look at any place on Earth. And ask the hard questions about Bruce Wayne. Give the foreground to the characters, not the special effects. We don’t need to see $2 million on the screen every single minute. My prescription for the series remains unchanged: scale down. I had a feeling by the end of this film that Batman was beginning to get the idea. No matter how hard you try, superheroes and film noir don’t go together the very essence of noir is that there are no more heroes. Looking back over both films, I think Burton has a vision here and is trying to shape it to the material, but it just won’t fit. I give the movie a negative review, and yet I don’t think it’s a bad movie it’s more of a misguided one, made with great creativity, but denying us what we more or less deserve from a Batman story. Is the opposite of comic book “tragic book”? The movie’s problem is that no one seemed to have any fun making it, and it’s hard to have much fun watching it. And the music by Prince, intercut with classics, is effectively joined in the images. Nicholson has one or two of his patented moments of inspiration, although not as many as I would have expected. Director Tim Burton and his special effects team have created a visual place that has some of the same strength as Fritz Lang’s Metropolis or Ridley Scott’s futuristic Los Angeles in “Blade Runner.” The gloominess of the visuals has a haunting power.

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