What makes Matt Reeves' 'Batman' different than the rest

SPOILERS abound, so read this after you watch the movie.

Matt Reeves did create his own world with “The Batman.” That was a resounding success upon my exit from the screening. That was the main challenge: dishing his own take on a heavily populated cinematic world.

Tim Burton, Joel Schumacher, and Christopher Nolan directed mainstream Batman movies over the past 30+ years. Reeves coming in clean-up in this group could have hindered his production. That didn’t happen. While my review of “The Batman,” in theaters this weekend, spoke more modestly of the film’s quality, the marinating period has revealed a stronger liking. That’s the life of a film critic. Sometimes, an opinion changes, or it just shape-shifts a bit.

As I thought more about the movie, certain unique standout elements stood out. Since that’s the million dollar question entering this movie-what makes it different from the previous films-allow me to give you a few. This is where I state the obvious:

***SPOILERS*** ***SPOILERS***

If you haven’t stopped reading, allow me to talk to you about this all-new luxury Bat Waffle Maker. Perfect for moody, gloomy nights after a long night of head-kicking vengeance straight into a thug’s face. Carb up like Wayne with these neatly shaped, gluten-free savvy cakes. Don’t wait, just bake. Alright, now that the spoiler warning is out there, let’s get into some juicy secrets about Reeves’ “Batman.”

ALFRED AND BRUCE’S RELATIONSHIP

Not as steely as Affleck/Irons or wistful as Bale/Caine, the partnership of sorts between Robert Pattinson (who is great in the lead role) and Andy Serkis is just different. It doesn’t really have an easy to attach to it. In this world, Alfred taught Bruce how to fight, not Ra’s Al Ghul. I loved that touch. Along with raising him and becoming his father figure after the death of Thomas, Alfred also helped Bruce turn the page to the Bat in this case.

The cufflinks scene is ingenious because both actors underplay it, and the writing is restrained instead of telling. It’s more understated than the emotionally draining cuff links scene at the end of “The Untouchables.”

Alfred and Bruce care about each other and while it’s still a father/son type bond, they have extra history together and a rugged shorthand that cuts straight to the truth. What Alfred didn’t tell a younger Bruce, and how those thorns have come out to play with Paul Dano’s Riddler. Which leads me into the next thing that’s different about Reeves’ film.

THE WAYNE HISTORY

We don’t see Bruce’s parents die. Reeves thankfully doesn’t show us poor Thomas and Martha Wayne getting blown away for being stupid rich people who chose the darkest alley possible to exit a theater. Thanks, Matt.

But there’s something rotting in Gotham City’s golden family. It turns out that Wayne’s promise to clean up the city was half-baked. A Project Renewal program that was going to be a boost for orphanages instead became a trust fund for corrupt cops, politicians, and worst of all, criminals. Empty promises make Bruce a very endangered son, thanks to the Riddler. So Thomas Wayne wasn’t a complete saint, but he was a damn fine surgeon.

CARMINE FALCONE/THOMAS WAYNE ARE LINKED

In The Batman, Gotham’s most notorious gangster had his life saved by Bruce’s dad. In a scene with Falcone (played here by a snake-like John Turturro), we find out that emergency heart surgery was performed on Carmine decades before. If not for Thomas’ surgical skills, Batman would have one less problem to deal with. He’d still have Oswald though.

FARRELL’S PENGUIN

Flush away Danny DeVito’s fish-chomping performance in Burton’s “Batman Returns.” The only thing he chewed more than the scenery were those *probably fake* fish.

Farrell’s take is something else. Matt Reeves and Peter Craig drew him up as a scar faced young, ambitious gangster. He’s a weapon for Falcone, but there’s bigger plans. Instead of DeVito’s comical yet also obscene growl, Farrell’s tough talker is fearless. In a couple separate scenes, he shows zero fear in taking on Pattinson’s Bat, including a thrilling car chase that finds Cobblepot on his head.

In physical appearance, voice, and mannerism, Farrell’s Penguin was completely different from the previous take on the comic book character. Very well done. It wasn’t a gimmick. The makeup and hair are perfect. Give me more. Now that Falcone is gone, Oswald can move up.

CATWOMAN’S DAD IS…

Falcone! That’s the mischievous thread in Selina Kyle’s (played by Zoe Kravitz) story. Her father is a criminal and her life is shattered glass for life. All she has are cats and an alluring Caped Crusader coming into her life. But the small twist in her backstory was well placed.

INCLUSIVITY

One of the wise and understated elements of The Batman is the inclusivity in the casting. I love that Jim Gordon is played by Jeffrey Wright. Kravitz makes a killer Catwoman. The mayoral candidate (Jayme Lawson) in the film (the one who gives Bruce shit for not returning her calls) is African American. It’s written naturally and smart too.

Let me scream this. Roles by a white actor DON’T have to be played by a white actor in every reinvention. That’s so boring and sadly old school. Why can’t Gordon be an older black guy instead of an older white man? I like what Reeves did here, adding a timely element to storied material by just opening the doors a little (or a lot) wider for actors of all races. If the role has multiple interpretations in its construction, let anyone play it. Those should be the rules.

The Batman was exactly what Reeves intended, like it or not. Love it or just like a decent amount. Either way, one must applaud the writer/director’s signature stamp on another storied franchise. His reinvention of Planet of the Apes was superb; a wonderful 1-2 cinematic punch. While I expect his second take on the Bat to be better, I am impressed with what he did differently.