Batman and robin review roger ebert biography

Not really. All the trappings are there: the Batmobile, the rugged suit, the gadgets courtesy of trusty butler Alfred.

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And yet, despite these touchstones, this is unmistakably a Matt Reeves film. The script from Reeves and Peter Craig forces this hero to question his history as well as confront his purpose, and in doing so, creates an opening for us as viewers to challenge the narratives we cling to in our own lives. This is not the dashing heir to a fortune prowling about, kicking ass in a cool costume.

This is Travis Bickle in the Batsuit, detached and disillusioned. But at night, you can see the rush he gets from swooping in and executing his version of vengeance, even beneath the tactical gear and eye black. Even more than Christian Bale in the role, Pattinson is so skilled at making his beautiful, angular features seem unsettling. Pattinson and Kravitz have insane chemistry with each other.

She is his match, physically and emotionally, every step of the way. Jeffrey Wright is the rare voice of idealism and decency as the eventual Commissioner Gordon.

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John Turturro is low-key chilling as crime boss Carmine Falcone. Colin Farrell is completely unrecognizable as the sleazy, villainous Oswald Cobblepot, better known as The Penguin. During a fight at a thumping night club, punctuated by pulsating red lights, you can feel every punch and kick. And a shootout in a pitch-black hallway, illuminated only by the blasts of shotgun fire, is both harrowing and dazzling.

Greatly magnifying the power of scenes like these is the score from veteran composer Michael Giacchino.