Schumacher's Batman & Robin and Batman Forever earn points for their wonderful costumes, lighting, and set designs (with the landscape of Gotham city itself remaining particularly outstanding) in addition to their wacky plots these stories were out there. In a monotone current landscape of Snyder Et al., looking back on the Schumacher efforts these movies were actually, yes, 'fun!' with a hefty exclamation mark, in contrast to the grim gloom and doom of recent Batman films. Schumacher's Batman movies hearkened back to the Adam West 1960s TV show. The Riddler we witness is grimy and unwell, and a far cry from the colorful take that we got in 1995's Batman Forever. Riddler picks up tips from like-minded weirdos on the web, there to cause havoc and advise him how exactly to craft homemade bombs. Finally peering in to Riddler's home life in The Batman reveals newspaper clipping-clad walls, obsessive and dingy. Continuing the reality of setting a comic book character in a (mostly) realistic Gotham City presents the playful and cryptic villain as essentially no more than a deranged loser with access to the internet a keyboard warrior and put-upon bully who blames society for his own obvious flaws. Packing in three familiar Batman villains in the way of Penguin, Catwoman, and The Riddler, the movie does its best to keep the Nolan practicalities that made The Dark Knight trilogy so solid, but with the flair of the character's inborn theatrics.Īt the center of a very good (if certainly overlong) take on Batman, is Paul Dano's The Riddler. 2022's The Batman may well be the darkest outing for The Caped Crusader yet.

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