Directed by:
Tim BurtonScreenplay:
Daniel WatersCinematography:
Stefan CzapskyComposer:
Danny ElfmanCast:
Michael Keaton, Danny DeVito, Michelle Pfeiffer, Christopher Walken, Michael Gough, Rick Zumwalt, Michael Murphy, Andrew Bryniarski, Pat Hingle (more)VOD (5)
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Gotham City faces two monstrous criminal menaces: the bizarre, sinister Penguin (Danny DeVito) and the slinky, mysterious Catwoman (Michelle Pfeiffer). Can Batman (Michael Keaton) battle two formidable foes at once? Especially when one wants to be mayor and the other is romantically attracted to Gotham's hero? (official distributor synopsis)
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Reviews (11)
If you want to make an adaptation of classic comic books, the biggest problem is how you want to deal with the fact that it was consumable material for the working class, basically commercial junk. They were naive stories with superheroes and villains, who look highly inappropriate in today's setting. Even though the action aspect is great in Nolan's trilogy, it seems out of place with its pathos and serious image. The vast majority of comic book adaptations suffer from schematism and an attempt to please the teenage audience. They try to impress, and they rely on effects. Burton's Batman is playful, visually polished, has a unique style and unmistakable poetics, and it is original and perfected to the last detail. Most comic movies have a problem with overkill, whereas this Batman is irresistibly ironic, evidently not taking itself too seriously. I don't think it's just the best Batman film, but also one of the best comic movies overall. Overall impression: 90%.
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This is what it’s like when, after nearly three decades, you look back at a film that made an impression on you in your early teens and you find it surprisingly bizarre, deranged, perverse, oversexed, unique and beautiful. In today’s era of thoroughly planned-out blockbusters that are meticulously controlled for the sake of corporate image despite being marketed as tremendously innovative and original, Burton’s second Batman comes across as a magnificently anti-system achievement. It’s not only that Burton ignores the comic-book canon obsessively guarded by fans, which he quite consciously doesn’t care about. Equipped with a generous budget and creative control, he spins a romantically sick and sleazily beautiful antithesis of various American myths, from the political system to superheroes to Christmas. Batman Returns is like a snowman turned upside down, its bottom revealing the hidden ugly underbelly of the kitschy idyll. With almost operatic sweep, Burton conducts phantasmagorically stylized scenes combining gothic monumentality with the deviance of expressionism. In this world, he lets the circus freaks run riot, as the heroes and villains differ only in that, for various reasons, they cannot give vent to their inner desires. Spandex has been replaced with latex and the masks and costumes do not look like tough armour, but rather like fetishistic outfits in which the characters vainly try to hide their childhood traumas and adult perversions, obsessions and dreams of boundless power from the outside world. However, Burton’s Batman movie isn’t pompously dark and serious like those of the new millennium. In his grotesque vision, bleakness is just as essential as the classic comic-book unseriousness of the slapstick dimension. Like the world depicted in the film, its logic, violence and the antiheroes themselves are cunning, theatrical and childishly spiteful, but also full of grief, pain and a naïve longing for something better. Like all good Christmas movies, this one is about family, belonging and resting in the arms of loved ones. But with the difference that the heroes here can only dream about that.
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A traditional Burton film for sight and Elfman for sound. The spice of the second Batman is definitely the atmosphere of Christmas, in which Tim Burton recalls his memories of his legendary godson The Nightmare Before Christmas. Dazzling cynicism, destruction of symbols and especially a yellow duck in the service of evil, this time with huge proportions... Magnificent, cynical, extraordinarily watchable. But looking at the scenery alone is not enough, so there are two key characters - Penguin and Catwoman. Both are much more prominent title heroes, which is not really a bad thing, because rather than the heroic deeds of Batman, the film is about the double-edged nature of these two characters. Batman Returns is able to make do without straightforwardness and in places, unfortunately, without storytelling flair. Burton tells the story incredibly colorfully and easily, but a few times I caught myself thinking: What about, actually? In short, I would expect a little more emotion and experience, but maybe it was just messed up for me by bad dubbing and a bad translation. Otherwise, this a good Burton film with everything it should have. Even with a filling that smells intoxicatingly of German expression.
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Together with the first two parts of Nolan’s trilogy, this is the best cinematic Batman. Burton’s visual style works better than in the previous one – probably it’s really fitting for the Christmas period, Burton has always been good at finding moral filth and darkness behind a snowy facade. DeVito is great as The Penguin, delivering a solid balance between caricature and a real threat hiding in the sewers and wearing bizarre costumes, and the story also has room for another (semi-)antagonist, the splendid Catwoman (with the magical face of the most beautiful actress of her generation). Batman is only one part of a balanced triangle of characters, he only reacts to the actions of the other two (and it’s the only one with pure intentions). The character of Christopher Walken is also important and brilliant, he’s the one who brings everyone together. The final confrontation was bit a silly and the drama is not very effective, but everything is compensated by the clever relationship structure and an inimitably morbid comic-book style accompanied by Elfman’s music score, a joy to watch. 85%
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The incredibly dark atmosphere together with Danny Elfman's music deliver a true comic book experience. I dare to say that the second Batman movie is not only more skillfully directed, but also visually more impressive, more atmospheric, and far darker. There isn't as much action, with more emphasis placed on the characters. Batman's gadgets are once again presented in full glory and for the entire two hours, there’s no chance of getting bored. The magnificent production design makes us forget about Joel Schumacher's later colorful escapades.
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