Movie Night: Joker: Folie à Deux

Released: 4 October 2024 (Hey, that’s my birthday!)
Director: Todd Phillips
Distributor: Warner Bros. Pictures
Budget: $190 to 200 million
Stars: Joaquin Phoenix, Lady Gaga, Brendan Gleeson, Catherine Keener, and Harry Lawtey

The Plot:
Two years after killing Murray Franklin (Robert De Niro) on live television, Arthur Fleck/Joker (Phoenix) is incarcerated at Arkham State Hospital, experiencing musical madness through a shared delusion with Joker fan Harleen “Lee” Quinzel (Gaga).

The Background:
The Joker has been a staple of DC Comics for decades and is inarguably Bruce Wayne/Batman’s greatest foe. Created by Bill Finger and Bob Kane, the “Clown Prince of Crime” first appeared in 1940 and has been responsible for many tragedies in the Dark Knight’s life, including the death of Jason Todd/Robin and the crippling of Barbara Gordon/Batgirl. The Joker has also appeared in live-action many times: Cesar Romero famously refused to shave his moustache for the role in the sixties, Jack Nicholson set a new standard in Batman (Burton, 1989), Heath Ledger received a posthumous honour for his incredible turn in The Dark Knight (Nolan, 2008), and Jared Leto’s screen time was significantly cut from Suicide Squad (Ayer, 2016). A standalone Joker movie was initially planned to spin out from Suicide Squad before numerous blunders saw Warner Bros. shift towards an unrelated interpretation of the character. Filmed on a modest budget, Joker (Phillips, 2019) was the first “R” rated DC Extended Universe movie and an unprecedented critical and commercial success, despite its protesters and controversy. Though planned as a standalone and the first in a series of darker, more experimental DC films, star Joaquin Phoenix personally lobbied for a follow-up after dreaming up the premise of a musical sequel. After briefly considering a Broadway show and unanimously deciding against transforming Arthur Fleck into a traditional criminal mastermind, Phoenix and director Todd Phillips developed the musical concept further, bringing in Lady Gaga as a new version of Harley Quinn that required her to change her approach to singing. The musical numbers were performed live, which proved an editing nightmare for Philips, who was given an extraordinary level of autonomy over the project, which ultimately failed to replicate the financial success of its predecessor. Reviews were equally far more scathing this time around; indeed, while Phoenix ’s performance was praised and Lady Gaga was seen as underutilised, many questioned the use of musical numbers and criticised the pacing and tedious, plodding narrative. In the wake of James Gunn rebooting DC’s live-action ventures, it seems our time with this alternative Joker is over not just because of these factors but also because Phillips stated he was finished with the character and this fictional world.

The Review:
I’m proudly in the minority of people who didn’t care much for Joker. Even it had somehow been a decent film, in my opinion, I still would’ve found it annoying to have an alternative version of the Joker running around in a Batman-less Gotham City. As a psychological thriller that made you question the sanity and reliability of its narrator, it was okay; but I would still rather watch the vastly superior American Psycho (Harron, 2000) for that fix. Either way, Joker: Folie à Deux (ridiculous title, by the way) picks up two years after the first movie and finds a heavily emaciated, largely silent Arthur Fleck committed to Arkham State Hospital, where he’s routinely harassed, abused, and mocked by bullish guards like Jackie Sullivan (Gleeson). While Joker ended with the suggestion that some of the film’s events were part of Arthur’s twisted imagination, Joker: Folie à Deux confirms that he did kill five people (actually, it’s six, but it’s not common knowledge that he killed Penny Fleck (Frances Conroy), his overbearing and abusive mother), with Murray Franklin’s live execution inciting a riot and a gaggle of clown-themed protestors calling for Arthur’s release. Despite finding his true self and experiencing a euphoric empowerment by embracing his psychotic urges, Arthur is a broken shell of his former self. Lethargic and largely mute, he’s easily bossed around by the guards and kept under the whim of his daily medicines. Jackie and the others regularly taunt him, forcing him to kiss other inmates and rewarding him with cigarettes whenever he tells one of his bad jokes, but the strong, confident, self-assured Joker is absent in the early going of the film (and, truthfully, for much of it). Arthur’s so mellow that his lawyer, Maryanne Stewart (Keener), is working to convince him, a jury, newly elected assistant district attorney Harvey Dent (Lawtey), and basically anyone who’ll listen that the meek Arthur and his psychotic Joker are distinctly different personalities. Her goal in aiding him, in trying the change the public’s opinion of him as some crazed murderer or a martyr to the lower classes, isn’t to prove he’s innocent, of course, since he absolutely is guilty of murder. Instead, she wants to show the tragedy behind his childhood, the mitigating circumstances around his killings, and prove that he’s a disturbed individual who needs real medical help, not to be caged in a veritable torture chamber or sent to the electric chair for actions outside of his control.

A broken down Arthur is given new life as Joker through Lee’s musical influence.

Arthur is largely apathetic about all this. He endures his daily torment and routine without so much as a peep and does his best to go along with Maryanne’s plan, taking solace in his fantasy world where he imagines his life as a classic Warner Bros. cartoon, relives the trauma he suffered at the hands of others and his mother, and seemingly longs for the feeling of empowerment he felt when he embraced his Joker persona. All this changes, however, when he passes through B Wing, a low security section of Arkham housing non-violent inmates, and catches the eye of Lee Quinzel. When Jackie arranges for Arthur to participate in the same musical therapy class as Lee for good behaviour, Arthur finally opens up to this self-professed Joker fan. Instantly enamoured by Arthur and having been inspired by his actions, Lee claims to have struck out against her own abusive family and landed herself in the nuthouse after burning down her apartment building. The two grow closer as Lee professes her admiration and love for the ideal Arthur embodied when he killed Murray Franklin and Arthur, love starved and craving attention, falls head over heels for her in return. The two express themselves through song almost constantly, either in Arthur’s warped imagination or, seemingly, for real. As in the first movie, it’s not always clear when things are real or not, though many of the musical numbers take place in Arthur’s head. These imaginary sequences are also the only times Arthur shows his violent side, braining and beating people to death with footstools and mallets, and are seemingly his new way to work through his pain and frustration and emotion. Unlike Arthur’s obsession with his neighbour, Sophie Dumond (Zazie Beetz), Lee is quite real. Others see and acknowledge her, though it’s debatable whether she really did blag her way into his cell to seduce him and much of her character is called into question when Maryanne reveals that Lee lied about her past to get closer to Arthur. Indeed, rather than being a downtrodden and forgotten member of the lower classes like him, Lee comes from money, is studying psychiatry, and willingly committed herself to meet him, reframing the usual Joker/Harley dynamic as she’s the one subtly influencing him to coax out what she sees as his “true” self.

Faced with daily abuse and a death sentence, Arthur retreats into a musical fantasy.

Lee’s influence sees Arthur become bolder, more confident, regaining the spark that took Gotham’s crooks and destitute by storm. A parade of supporters surrounds the courthouse during his trial, which is broadcast live since he’s such a high-profile killer, and witnesses testify against Arthur’s mental state. Encouraged by Lee to embrace his status as a cult symbol, Arthur snaps and fires Maryanne and opts to represent himself, donning the Joker makeup and persona once more and strutting around the courtroom ranting about his shitty life. By his own admission, however, Arthur knows nothing about the legal system, resulting in him mocking his traumatised former co-worker Gary Puddles (Leigh Gill). These moments, and where Arthur is wailing or uncontrollably cackling in despair, are where Phoenix excels in the role. I’ve never liked the idea of a definitive origin for the Joker, but he certainly brings his A-game in personifying Arthur’s depressing bleakness and Joker’s manic insanity. For the most part, Lady Gaga does well enough as a heavily revised version of Harley Quinn. After she checks out of Arkham, we’re told that Lee campaigns on Arthur’s behalf and she slowly adopts more clown-ish makeup and mannerisms in support of him. When she’s not singing (and she sings all the damn time), she’s an intriguing character, one who I would’ve liked to see more from. She seems to want Arthur to embrace his Joker persona and lead his followers in some kind of revolution (to “build a mountain”, as they say) but it’s not clear why or what their ultimate goal is rather than simply sticking it to “The Man” and unapologetically being true to oneself. Arthur’s main antagonist is himself, as ever; he’s riddled with insecurity, feelings of abandonment and helplessness, and is thus depends on Lee for emotional support. However, while he relishes frolicking around like Foghorn Leghorn, Arthur’s outbursts and rantings see him anger Jackie and the other guards. While the Arkham inmates and Joker’s supporters cheer and applaud his antics, the guards mercilessly beat and seemingly sexually assault him, with Jackie even throttling Arthur’s fellow inmate, Ricky Meline (Jacob Lofland), for being a little too outspoken in his rambunctious support.

The Nitty-Gritty:
Despite some confusion in the marketing and various interviews, Joker: Folie à Deux is very much a musical. Even before Arthur meets Lee, his fantasies favour belting out Frank Sinatra and, after they get closer, this only increases, to the point where almost every conversation becomes a musical number. I like musicals; I’m not against the idea of a musical. I like the idea that Arthur’s warped imagination has evolved to where he retreats into musical fantasy. However, I don’t think it was executed well here and it became very tedious. It seems the only reason these musical numbers is because of Lady Gaga’s stunt casting as Harley Quinn (sorry, “Lee”), and I definitely feel it would’ve been more impactful to just have three or four of these numbers. Indeed, it bothered me that Arthur was suddenly so into singing when surely his fantasy should be being a stand-up comedian or a talk show host like his former idol? Either way, it was physically exhausting seeing mundane conversations turned into songs and it got tired very quickly. While the first half of Joker: Folie à Deux mostly examines a beaten-down Arthur as he shuffles through daily torment in Arkham and his blossoming relationship with Lee, the second half is a courtroom drama, where Arthur’s very presence causes controversy even before he’s prancing around in his clown makeup. Personally, I found the courtroom stuff more interesting, but it was also a joke. The idea that anyone would acquit Arthur when thousands of people saw him commit murder on live television is laughable, to the point where Dent seemingly only endures the circus to bolster his career using the publicity. Things seem to turn a corner when Arthur represents himself as Joker, finally standing tall as a taunting, unhinged figure and stirring up a fresh wave of support from the incels who worship him as a martyr. However, beneath the makeup and the façade is lowly old Arthur Fleck, a damaged man who struggles to live up to expectations. Dent argues that Arthur is faking his mental illness and Arthur’s brief euphoria at reassuming his Joker guise soon comes crashing down following Jackie’s assault, leading him to openly denounce his persona, admit to his wrongdoings, and essentially criticise not just those who support him, but the myriad audiences who hailed Joker a subversive hit.

Ultimately, Arthur fails to live up to Lee’s expectations and ends up shanked like a bitch.

Indeed, Joker: Folie à Deux appears to be taking all the goodwill of the first movie’s success and purposely flushing it down the toilet. Arthur is taken right back to square one, being pushed around and bullied like a feeble, pathetic child and his number one supporter, Lee, is shown to be a deluded, obsessed super fan who encourages Joker’s outbursts with no real end goal in mind. His anonymous supporters rally for him but mostly use the Joker persona as an excuse to lash out, attack the police and government, and commit petty crimes. They’re not trying to overthrow the elite or get equality; they just want an excuse to act like assholes. After seeing how traumatised Gary is and suffering Jackie’s malicious abuse, Arthur snaps again and the empowerment he rediscovered leaves him. His public denouncement of Joker sees Lee leave in disgust and either kill herself or bluntly reject him, depending on which scene you want to believe is real. As the jury delivers their unanimous guilty verdict, the courthouse is attacked, leaving Dent mildly wounded on one side of his face, and Arthur escapes. He’s briefly picked up by some Joker fanatics, who desperately try to shield him in hopes of inciting a revolution, only to be astonished when he flees in fear, wanting no part of their movement. After Lee rejects him, Arthur is immediately and easily apprehended and dragged back to Arkham, ending the film right where he started: a small, broken, screwed up little man facing the death penalty. However, when he’s called to see a visitor, Arthur is stopped by a fellow inmate (Connor Storrie), one of many who gleefully watched Arthur’s trial and supported his manic actions. Disgusted that the lauded Joker is nothing but a worthless nobody who doesn’t appreciate his following, the inmate spitefully tells Arthur a joke and then repeatedly shanks him, mutilating his own face with a Glasgow smile as Arthur bleeds out on the floor and, presumably, dies.

The Summary:
I didn’t care for Joker. I thought it was largely pointless and meaningless since we’d never see this version of the character in the larger DC extended universe and the idea of doing a Joker movie without Batman seemed like a waste of time to me. I’ll admit, it was a decent, gritty, psychological thriller but…it wasn’t the Joker. Joker: Folie à Deux hammers that home explicitly; by the end, it’s obvious that Arthur Fleck was never supposed to be the Clown Prince of Crime and was, instead, the catalyst for psychotic copycats to spread terror and discord. This wouldn’t be a bad concept if the movie was actually good. Maybe if it had taken some time to explore how Arthur’s actions influenced people, perhaps shown us more of Gotham from Lee and Dent’s perspectives and juxtaposed them with Arthur cackling it up in Arkham, I could’ve endured the obnoxious musical numbers. Alas, this isn’t the case and the film instead devotes itself to stripping away everything people loved about the first film except the performances, and even those are called into question by the tedious singing. I didn’t like the idea that Arthur regressed while in Arkham; he ended Joker on a high but it took the obsession of a woman to get him back in gear, which made him seem weak and lack agency. Lady Gaga may as well have been an entirely different character; she’s as removed from Harley Quinn as Arthur is from Joker. In that regard, the idea makes perfect sense but it’s hardly providing a quintessential adaptation of these two popular characters. What really bugs me about these Joker films is how some audiences will grow up or go around thinking that this is what Joker and Harley should be, when the actual intent seems to be the exact opposite. But, by messing with our expectations and presenting this weird, poorly paced, nonsensical musical, Joker: Folie à Deux wastes more of my time than I would’ve liked. It’s not clever or saying anything new; indeed, much of its runtime treads the same ground as the last film. The singing is annoying and gets in the way of the story, and any potential of seeing Arthur truly embody the Joker persona is done away in favour of trolling audiences. I’d love to know where the $200 million budget went on this titanic insult of a film. Still, hopefully now that Arthur is dead we’ve seen the last of his “Joker” and we’ll never have to worry about this terrible incarnation of the character ever again.

My Rating:

Rating: 1 out of 5.

Terrible

Did you enjoy Joker: Folie à Deux? If so…why? Name one thing you enjoyed; I dare you! What did you think to Lady Gaga’s version of Harley Quinn? Were you disappointed that Arthur didn’t truly embrace his Joker persona? What did you think to the musical numbers? Are you glad Arthur was shanked in the end or are you insane and think this is the best Joker ever? What are some of your favourite Joker-centric stories over the years? Whatever you think, good or bad, about Joker: Folie à Deux, drop a comment down below and let me know your thoughts.

Movie Night [Bat-Month]: The Dark Knight


In the decades since his first dramatic appearance in the pages of Detective Comics, Bruce Wayne/Batman has become a mainstream, worldwide, pop culture icon. The brainchild of writer Bob Kane, Batman was brought to life by artist Bill Finger and has been a popular staple of DC Comics and countless movies, videogames, and cartoons over the years. “Batman Day” fell on 21 September this year so I’ve been spending every Saturday celebrating comic’s grim and broody vigilante.


Released: 18 July 2008
Director: Christopher Nolan
Distributor: Warner Bros. Pictures
Budget: $185 million
Stars: Christian Bale, Heath Ledger, Aaron Eckhart, Maggie Gyllenhaal, Gary Oldman, Morgan Freeman and Michael Caine

The Plot:
After his dramatic debut as “The Batman”, billionaire vigilante Bruce Wayne (Bale) is cracking down on organised crime within Gotham City. However, his mettle is tested by the clown-faced anarchistic “The Joker” (Ledger), who seeks to disrupt social order and corrupt upstanding district attorney Harvey Dent (Eckhart).

The Background:
After Joel Schumacher effectively killed the live-action Batman franchise with his dismally received camp adventures, Warner Bros.’ desperate attempts to get a new movie finally paid dividends when visionary writer/director Christopher Nolan, writer David S. Goyer, and star Christian Bale explored Batman’s origins in the highly regarded reboot Batman Begins (Nolan, 2005). Despite teasing the Joker at the finale, Nolan was initially unsure if a sequel would be greenlit but worked closely with Goyer and his brother, Christopher Nolan, to develop a suitable follow-up once Warner Bros. prioritised a sequel. The filmmakers took inspiration from seminal Batman stories like The Long Halloween (Loeb, et al, 1996 to 1997) and some of cinema’s most memorable movie villains to bring their versions of the Joker and Harvey Dent to life. Despite Jack Nicholson’s memorable performance as the character, Nolan confidently cast against type after being impressed by Heath Ledger, who mentally and physically threw himself into the role. In keeping with his preference for practical effects, Nolan signed off on the construction of a fully-working Batcycle, redesigned the Batsuit to be more flexible, blew up a building for real, and flipped an 18-wheeler truck using a massive piston! Sadly, the editing process proved particularly difficult after Ledger unexpectedly died from an accidental overdose; the film was summarily dedicated to him. Following an aggressive viral marketing campaign, The Dark Knight enjoyed a record-setting $1 billion+ box office and was met with widespread critical acclaim. It is widely considered one of the best and most influential comic book movies ever made, praised for its performances and socially relevant narrative, with many praising Ledger’s portrayal of the Joker which won him a posthumous Oscar. Immediately regarding as the best Batman movie of all time and recognised as setting a new standard for comic book movies, The Dark Knight’s success more than justified the production of a third and final (and far more divisive) entry some four years later.

The Review:
After the disaster that was Batman & Robin (Schumacher, 1997), I think it’s safe to say that everyone thought Batman’s feature film career was dead in the water. For me, that’s why Batman Begins was such an exciting and enjoyable experience. Finally, after decades of Batman being either a goof or a psychopath, we got a live-action film that really nailed the heart and drive of the character. The extended and in-depth exploration of Bruce’s psyche, determination, and training to become “more than just a man” really put him at the forefront of the piece and allowed the most accurate depiction of the Dark Knight ever seen in cinema at that point as Bale deftly shifted between numerous subtle personas. With Batman Begins’ conclusion masterfully teasing the Joker, expectations were high for the sequel, but reactions to Ledger’s casting were mixed at the time due to his reputation as a “pretty boy”. To address this, Nolan opens his film with an intense and engaging bank heist, filmed entirely in IMAX, in which the mysterious Joker showcases his hands-on, manipulative abilities by arranging for his clown-faced goons to knock off a mob bank and off each other once their specific tasks are completely, allowing him to easily slip away in the chaos. It’s been about a year or so since the last film and Batman now appears at crime scenes to liaise with Lieutenant James “Jim” Gordon (Oldman), much to the chagrin of cops like rookie detective Anna Ramirez (Monique Gabriela Curnen) because of his vigilante status and the corruption that continues to infest the Gotham City Police Department (GCPD). However, neither Batman or Gordon initially place much stock in the Joker’s continued threat since their focus is solely on taking down the last vestiges of organised crime in the city, represented by mob bosses Salvatore “Sal” Maroni (Eric Roberts), Gambol (Michael Jai White), and “The Chechen” (Ritchie Coster), a decision that’s entirely logical bit which comes back to bite them in due time.

Batman’s war on crime is thrown into chaos by the maniacal Joker.

Bruce has been extremely busy in the time between films. Although he’s forced to operate out of a penthouse and highly equipped bunker in the city as he waits for Wayne Manor to be rebuilt, he’s established quite the reputation both in and out of his cowl. As Bruce Wayne, he’s the bored, party-going philanthropist who’s just as likely to abscond with a bunch of actresses to an isolated yacht as he is to fall asleep in board meetings. Although Bruce is seen by many as an aloof, reckless, and embarrassing billionaire, this persona effectively keeps anyone from questioning his nightly jaunts and he’s still savvy enough to fund and promote any programs or individuals who are committed to bringing Gotham City back to glory, such as Harvey Dent. As Batman, Bruce’s reputation is even stronger; criminals are now so afraid of the Dark Knight that they think twice about being on the streets when the Bat-Signal is in the sky and mobsters hold their meetings during the daytime. Although the Batman is still something of an urban legend, many in the city have been inspired to dress up as him and take the law into their own hands, something Bruce is disturbed to see since it results in a bunch of out of shape blokes with itchy trigger fingers wearing “hockey pads”. Still, Batman’s presence has had a positive impact on the city. He and Gordon collude to tackle the city’s mob, eventually entering a shaky alliance with Dent to apprehend mob banker Lau (Chin Hau) and make mass arrests, and Batman even detains Doctor Jonathan Crane/The Scarecrow (Cillian Murphy) in during the opening, finally taking the maniac’s drugs off the streets. However, night after night fighting crime and getting into fist, fire, and dog fights takes a toll on Bruce. His faithful butler and father figure, Alfred Pennyworth (Caine), continues to offer wry commentary and deep concern for his master’s welfare but Bruce is determined to clean up the streets and make the city safe before even considering giving up his crusade.

The loss of Rachel takes a heavy toll on Gotham’s “White Night” and drives him to murder.

However, Batman’s positive impact, the arrest of hundreds of mobsters, and the public’s approval of Dent give Bruce pause to reconsider his path. Since the last film, Bruce has been keeping a close eye on childhood friend and crush (and assistant district attorney) Rachel Dawes (Gyllenhaal), who works closely with Dent to prosecute the criminals and the corrupt. Thanks to Gyllenhaal being a far superior actress to her predecessor, Rachel has much more gusto this time around. She exudes a confidence and determination that was lacking in Katie Holmes’ performance and allows her to not only appear effective when interrogating Lau but also sees her fighting back against the Joker when he targets her at Bruce’s fundraiser for Dent. Although Bruce is clearly rattled by how close Dent and Rachel have become (the two are shown to be in a relationship) and somewhat condescending towards Dent’s marketing campaign, he’s as impressed by the D.A.’s conviction as the rest of the city. Dent is a square-jawed patriot who makes a buzz in the court room with his no-nonsense approach towards criminals and inspires the wealthy and the destitute alike with his commitment to justice. Dent is also an avid supporter of the Batman and determined to do whatever it takes to keep the city streets clean, even if just for six months, but he’s not as squeaky-clean as everyone believes. Gordon is sceptical of Dent due to his past in Internal Affairs, while Dent is highly critical of the corruption within the GCPD, but the two form an efficient trio alongside the Batman when they agree to pool their resources to bring Lau back from Hong Kong. Dent proves to be a surprisingly complex man. He believes so strongly in the iconography of the Batman and in not giving in to the Joker’s demands, no matter how many lives are at stake, that he publicly outs himself as the Dark Knight to keep the myth alive but also proves that he’s not above threatening criminals at gunpoint, showcasing an unexpectedly erratic side to his character. This is only exacerbated when Dent and Rachel are targeted by the Joker and Batman is forced to choose which one to save. Naturally, he picks Rachel but both he and Dent are horrified to learn that this was a double-cross that leaves Dent hideously scarred and despondent, his faith in both justice and the caped vigilante shattered and replaced by a cruel devotion to “chance”.

Bruce’s allies believe in the Batman and play a hands-on role in aiding and advising him.

As before, Bruce is supported in all things by Alfred, who acts as a field surgeon, conscience, and advisor to his duties both in and out of the Batsuit. We learn a little bit more about Alfred in this film through his entertaining exchanges with Bruce, in which the two share a banter that is both amusing and heart-warming. Alfred spent some time in the Peace Corps in Burma, indicating he’s seen combat and has a military background, and his insight into chaotic aberrations such as the Joker are almost on par with Bruce’s years of training to learn the criminal mind. Initially, Bruce dismisses Alfred’s insight, however, refusing to believe that the Joker is anything more than a thug with a gimmick, but is forced to admit that he’s underestimated his foe when the Joker pushes him to breaking point with his killing spree. Interestingly, Alfred actually encourages Bruce not to give in to the Joker’s demands, to “endure” the slings and arrows so as to maintain the Batman’s incorruptible persona, and also secretly shields Bruce from the knowledge that Rachel ultimately chose Harvey over him to spare his surrogate son further pain. As before, Bruce is provided with new toys and even a sleek new suit by Wayne Enterprises Chief Executive Officer Lucius Fox (Freeman), who now exhibits a working knowledge of Bruce’s dual identity despite both never outright saying it. Fox plays a pivotal role not just in helping Bruce apprehend Lau but also in throwing off the suspicions of Coleman Reese (Joshua Harto) when his number crunching exposes Batman’s identity, and in the creation of a fantastical device that allows Batman to pinpoint the Joker’s location by hacking every cell phone in the city. Though Fox threatens to resign if the device isn’t destroyed because of the dangerous invasion of privacy it offers, his loyalty is rewarded when Batman rigs the machine to self-destruct once the Joker has been located. Finally, we have Gordon, who publicly disavows any knowledge of Batman but regularly colludes with him to fight the mob. Gordon’s role is also crucial to the film as he is seemingly killed protecting mayor Anthony Garci (Néstor Carbonell), only for this to be revealed as an elaborate plan by him and Batman to capture the Joker, a gamble that sees Gordon promoted to police commissioner after the Harlequin of Hate assassinates commissioner Gillian Loeb (Colin McFarlane). Although horrified by the Joker’s murderous antics, Gordon’s riding quite the high when he, Dent, and Batman finally get their hands on the city’s mob, but his hubris comes back to bite him when Dent specifically targets him as failing to protect Rachel since Gordon’s forced to work with corrupted cops and a wayward vigilante.

Ledger delivers a star-making performance as the chaotic and unhinged Joker.

And then there’s the Joker, played with an unnerving, scene-stealing performance by the late Heath Ledger. Unlike in Batman (Burton, 1989) where the Joker was provided with a hefty original backstory, this Joker is a complete enigma. A self-styled “agent of chaos” who proudly showcases both his gruesome facial scars and boasts that he’s simply “a dog chasing cars”, the Joker is as manipulative and psychotic as he is unpredictable and hypocritical. With no identification or fingerprints, the Joker is like a ghost. When he’s introduced, it’s like he’s been conjured by the city itself to challenge Batman’s presence and there’s no definitive explanation for who he is and why he does what he does. Indeed, much like popular depictions of his comic book counterpart, the Joker himself offers conflicting versions of his origin, scars, and motivations. The film suggests he’s been “rippin’ off mob bosses” for some time, he’s shown to have an intense hatred towards city officials and authority figures, and he even openly mocks the city’s mob bosses, threatening and murdering them with a gleeful menace. Although he favours knives over guns since they’re “more personal”, he’s proficient with firearms and, especially, explosives, hinting at a military background but, in true Joker fashion, his origins are completely irrelevant as he “just wants to watch the world burn”. Initially, the Joker encourages the mob to pay him to kill the Batman so they can run rampant over the city but he becomes infatuated by the Dark Knight’s incorruptible nature and refusal to kill. Thus, his motivation switches to opposing Batman’s ideology by corrupting the city’s “White Knight”, Harvey Dent, and breaking the will of the city by exposing their heroes as flawed human beings, demanding that the Batman publicly unmask and forcing both criminals and civilians to make life or death choices to test their mortality. In combat, the Joker is wild, dangerous, and apparently suicidal. He laughs manically in life-threatening situations, practically begs Batman to run him down, and is more than willing to die if it means forcing Batman to breaking point. Although his greatest strength is his unhinged imagination (he absolutely does have a plan, despite his claims, and carries them out with an almost supernatural foresight), the Joker gets the best of even the Batman thanks to appropriating mobsters for his own use and surprising Batman with his tenacity. But his true goal isn’t to simply fight Batman to the death but to instead cripple Gotham City by proving that anyone can turn to psychotic madness after one bad day, necessitating extreme actions from both Batman and Gordon to ensure that Dent’s reputation remains untarnished.

The Nitty-Gritty:
The Dark Knight represents how ingrained Batman’s iconography has become not just in the fictional world, but in ours. Just the fact that we got a Batman movie that omitted the character’s name entirely shows how synonymous this description is with the character, and it takes on a double meaning here since Batman is depicted (and, by the end, explicitly referred to) as a “Dark Knight”, a necessary evil to keep Gotham in check, since a “White Knight” has little chance of surviving the crime and corruption that infests the city. Indeed, Bruce is actively considering hanging up the cape and cowl when he sees how effective and unanimously beloved Dent is. Dent is the hero Gotham deserves without a masked persona, giving Bruce a sliver of hope that he can make good on his promise to be with Rachel once the city no longer needs Batman, but he vastly underestimates the destructive influence of the Joker, who perfectly encapsulates Gordon’s previous concerns about “escalation” through his unique brand of anarchy. The Joker is depicted as a man even Bruce “doesn’t understand”, someone beyond reason, intimidation, and bribery, and we see this when he shows no fear when interrogated by Batman and simply cackles with glee when the Dark Knight unloads on him since the Joker always has an ace up his sleeve (both literally and figuratively). Thus, the film very much focuses on the “battle for Gotham’s soul”, with the Joker shifting his motivation towards opposing and destroying not just the city officials and authority figures, but Batman himself since he’s the ultimate symbol of incorruptibility, to the point where he and his allies allow five people to die rather than reveal his identity because the Batman has become such an iconic force for justice within the city.

Some impressive practical effects and stunts make the film instantly memorable.

Speaking of Gotham, we’re shown a much different side of the city this time around. We’re firmly topside amongst the towering, glistening skyscrapers rather than in the dingy alleys of the Narrows, which is thematically relevant since the Joker is targeting the upper-class façade of the city but does rob it of a lot of its bleak, gothic identity. The Dark Knight also continues Batman’s crusade not against the street-level crime that killed his parents, but organised crime. He, Gordon, and Dent believe cutting the head off the proverbial snake will kill the body, and this is reflected after their big arrest that sees the lower-level scum facing at least six months in jail, giving the city breathing time to recover. However, this has the knock-on effect of reducing Batman’s street-level crimefighting to near zero since he’s more focused on nailing the likes of Maroni and the Joker and less on stopping random muggings and such. This isn’t necessarily a bad thing because, sadly, there’s little to no improvement in the fight scenes here. Nolan again opts for a close quarters, frenetic depiction of Batman’s fighting that does paint him as a brutal and efficient animal but robs us of seeing what he’s truly capable of. On the plus side, The Dark Knight explores Bruce’s detective skills; while it’s a bit confusing how he recreates fingerprints from bullet casings and he’s constantly one step behind the Joker, I liked how he colluded with Gordon and Dent to apprehend the mob and he’s given some fancy new toys to help him in these endeavours. The most prominent remains the tank-like Tumbler but, when this is destroyed by the Joker, Batman spends the remainder of the film blasting through the city streets on the sleek, bad-ass “Batpod”, a motorcycle-like vehicle that performs all kinds of unlikely turns and tricks with its near-spherical wheels, When extraditing Lau from his office building, Batman makes impressive use of his cape to soar through the skyline and then uses a “skyhook” to yank himself and his quarry out of there, just one of many impressive practical effects utilised in the film, with two more being the Joker’s insane truck flip and the fully practical, full-scale hospital explosion.

While I don’t like the new Batsuit, the Joker and Two-Face look especially impressive.

As mentioned, Batman gets a new suit this time around once he realises that he’s “carrying too much weight” and needs more flexibility. Sadly, I’m not a fan of the new suit; it allows full head movement and is less bulky, sure, but the Bat-symbol is too small, it’s unnecessarily “busy”, and just seems incredibly impractical to put on. It’s also far less durable; separation of the plates means Batman’s more vulnerable, which levels the playing field in his fight with the Joker, and the whole suit just looks too plastic-y and ugly for me. On the plus side, the Joker looks amazing; this might be my favourite depiction of the Joker and he looks ripped right out of a Lee Bermejo comic. While he still sports a permanent grin thanks to his facial scares, his clown make-up is haphazard and intimidating, specifically applied to resemble “war paint” and even degrades to reflect his insanity. His suit is also absolutely perfect, and I love how it’s filled with “knives and lint” and little booby traps, like grenades and such. The Joker also assumes various disguises, included dressing up as one of his own henchmen in a callback to the 1960s TV show, masquerading as a police offer at Commissioner Loeb’s funeral, and, most disturbingly of all, dressing up as a nurse to have a heart to heart with Dent! This is where the film really surprised me; obviously I half-expected Dent to become Two-Face (or “Harvey Two-Face” as films insist on labelling him…) but I never expected Nolan to go so comic-accurate with the depiction of Dent’s burns. Two-Face is absolutely gruesome to behold and the perfect example of how CGI can be used sparingly to enhance practical effects. You can see tendons, muscle, and charred flesh as Dent talks and he really does look like the comic come to life, almost to a fault as I find it difficult to believe that he’s talking so coherently and functioning so efficiently despite refusing pain medication. Similarly, I think we could’ve had a few more scenes exploring Dent’s dark side and his “lucky coin” before his scarring. His descent into vengeance and anarchy seems purely motivated by grief, perceived betrayal, and anger at having “lost everything” rather than having always had a dark side deep within him. Sure, there’s one scene where this is hinted at but it’s not what it seems; Dent never leaves anything up to chance since his coin is double-sided, meaning the odds are always in his favour. Accordingly, he was never actually going to hurt anyone, though this is twisted when he goes on a killing spree as Two-Face as he shoots his enemies dead based on the flip of that same coin.  

Crushed by Rachel and Dent’s deaths, Batman sacrifices his reputation to keep hope alive in Gotham.

Another element that doesn’t sit right with me is how everyone (and I do mean everyone) is aware of Batman’s code against killing. Maroni and the Joker challenge him on his “one rule” and Batman openly champions it at every turn, severely diminishing his threat somewhat and presenting a familiarity with him that irks me for some reason. A huge part of the Joker’s final plan is predicated on the notion that even “civilised people” will kill to survive. He even rigs the game in his favour to prove this point and is so determined to tarnish the Batman’s heroic visage that he plummets to his death with a maniacal laugh. However, Batman saves him at the last second and the two have an unnerving conversation about their duality and intertwined fates. This is made doubly uncomfortable not just because of Bale’s strained Bat-voice but knowing that they would never tangle again due to Ledger’s untimely death, and part of me wonders if it might’ve been better to insert an edit that shows the Joker willing die after giving his speech. When I first saw The Dark Knight in the cinema, I was so engrossed in the Batman’s fight against the Joker that I completely forgot about Two-Face and, as much as I enjoy the entire film and the finale, I wonder if it might’ve been better to incorporate Two-Face’s actions into the third film and cap things off here. Regardless, both Dent and Bruce are devastated when Rachel is brutally murdered by the Joker. This helps tip Dent over the edge and to kill those who’ve wronged him, but he forces Gordon to choose which of his family should be killed to teach him a lesson in pain and loss. When Batman arrives to confront Two-Face, both he and Gordon desperately try to appeal to Dent’s better nature and fail. Disillusioned and broken, Two-Face disregards Gordon’s pleas and prepares to kill his son (Nathan Gamble), forcing Batman to tackle him to his death. Glossing over the fact that Batman just killed a man (I guess, technically, it was the fall), Batman decides to heed Alfred’s advice and maintain Dent’s reputation by assuming responsibility for Two-Face’s murders. Though reluctant, Gordon realises that it’s the only way to keep people from losing faith in the justice system and begrudgingly agrees to paint Batman as a murderer, ending the movie with Batman a wanted fugitive who willing endures any punishment, mental, spiritual, or physical to ensure peace in Gotham.

The Summary:
I absolutely loved Batman Begins when it first came out. It was the dark, gritty, comic-accurate Batman I’d been hoping for for years and I was really excited to see where Bale and Nolan took the character in the sequel. To say that The Dark Knight exceeded expectations would be an understatement. The film is an absolute masterpiece not just of comic book cinema, but of the thriller genre. Bale continues to deftly embody the conflicting personalities and introspective drive and determination that fuels Batman’s crusade, and his Batman continues to be the definitive version of the character for me, despite the dodgy fight scenes and my dislike for the new suit. At its core, The Dark Knight works as an intense thriller depicting the fundamental conflict between justice and anarchy, logic and sanity, and truly elevated the genre to a new level by taking elaborate and colourful concepts like a clown-themed terrorist and a guy with half his faced burned off and treating them seriously. Naturally, Heath Ledger steals the show here; we may never see a better performance of the Joker and you can see that he’s as lost in the role as Bale is as Batman. Ledger’s manic energy and subtle touches really create a feeling of dread, mystery, and unpredictability to the villain, and it remains a tragedy that he didn’t live on to have more dramatic roles like this. Add to that the impressive practical effects, sweeping cinematic score and visuals, and the engaging discussion regarding Batman and his influence on the city and its criminal element and you have, for my money, one of the finest Batman movies ever put to cinema. The film masterfully pulls from some of Batman, Joker, and Two-Face’s most iconic and engaging stories to present an emotional and gripping tale of adversity for the Dark Knight. The film absolutely set the standard for both Batman and comic book movies going forward and, while the third film might have stumbled in concluding the story so wonderfully established here, it doesn’t diminish the timeless appeal of The Dark Knight in the slightest.

My Rating:

Rating: 5 out of 5.

Fantastic

Did you enjoy The Dark Knight? Where would you rank it against the other Batman movies? What did you think to Heath Ledger’s portrayal of the Joker? Were you a fan of the new Batsuit or do you also find it a bit too busy? What did you think to the effects and stunt work used in the film? Were you also surprised by how gruesome Two-Face’s scars were? Did you agree that Bruce had to maintain his identity, or do you think you should’ve come forward sooner? How did you celebrate Batman Day this year and what is your favourite Batman movie? Whatever your thoughts The Dark Knight, or Batman in general, share them below or leave a comment on my social media.

Back Issues [Bat-Month]: Detective Comics #66/68


In the decades since his first dramatic appearance in the pages of Detective Comics, Bruce Wayne/Batman has become a mainstream, worldwide, pop culture icon. The brainchild of writer Bob Kane, Batman was brought to life by artist Bill Finger and has been a popular staple of DC Comics and countless movies, videogames, and cartoons over the years. “Batman Day” falls on 21 September this year and I figured this was a perfect excuse to spend every Saturday celebrating comic’s grim and broody vigilante.


Writer: Bill Finger – Artist: Bob Kane

Story Title: “The Crimes of Two-Face”
Published: August 1942

Story Title: “The Man Who Led a Double Life”
Published: October 1942

The Background:
Following the huge success of Clark Kent/Superman, National Comics Publications had Bob Kane create another masked crimefighter to add to their repertoire. Thanks to the long-suppressed influence of artist Bill Finger, the “Bat-Man” soon became not only one of DC Comics’ most popular characters but also a mainstream cultural icon. In the years that followed, the Batman battled numerous costumed supervillains, but perhaps none are more tragic then former district attorney-turned-criminal Harvey Dent/Two-Face. Originally debuting in this two-part story as Harvey “Apollo” Kent, Two-Face was heavily inspired by the 1925 adaptation of The Phantom of the Opera (Leroux, 1909) and the 1931 adaptation of Strange Case of Dr Jekyll and Mr Hyde (Stevenson, 1886), both tales of a tortured soul, often gruesomely depicted or disfigured, who struggled with the duality of good and evil. Subsequent Two-Face stories have offered further insight into his tragic and abusive childhood, as well as further emphasising his complex relationship with Bruce Wayne, and the character is often a rival or litmus test for Batman’s different Robins. Widely regarded as one of Batman’s best villains, Two-Face has appeared as a prominent foe outside of the comics, from his renowned appearances in the acclaimed Batman: The Animated Series (1992 to 1999), Tommy Lee Jones’s bombastic portrayal in Batman Forever (Schumacher, 1995), and Aaron Eckhart’s understated turn in The Dark Knight (Nolan, 2008).

The Review:
This two-part story begins by introducing us to Harvey Kent, the dashing and famous district attorney beloved by the press and nicknamed “Apollo” for his courageous stance against organised crime, such as mob boss Sal “Boss” Moroni. Kent is the lead prosecutor in the case against Moroni and wastes no time in calling the Batman to take the stand as a key witness in Moroni’s trial. Amazingly, the testimony of a masked vigilante is seen as perfectly acceptable and admissible as evidence. Batman relates how Moroni shot “Bookie” Benson while escaping from a fight and Kent produces his most damning piece of evidence: Moroni’s lucky, two-headed silver dollar with his fingerprints on it! Moroni’s so incensed by Kent’s bravado that he tosses a vial of acid right at the district attorney! Although Batman intercepts the throw, Kent is hit with a concentrated splash of vitriol on one side of his face, leaving him wrapped in bandages for an entire month. When the time comes to reveal the extent of the damage, Kent is horrified to find that the left side of his face is “scarred and hideous”. He’s even more despondent to find that his only hope, a “European specialist” Batman knows of, is currently imprisoned in a Nazi concentration camp. The Batman simply peaces out after that, advising Kent to face his fiancée, Gilda, sooner rather than later, but Kent is distraught to find his gruesome visage frightens not only children, but also his beloved Gilda. Seeing the fear in her eyes, he flies into a rage, defacing a sculpture of his former chiselled features and terrifying her almost as much as his monstrous scarring.

After being hideously scarred, Two-Face embarks on a bizarre crime spree across the city.

Tormented, driven to the brink of madness, Kent ponders this dichotomy of his explicit duality. He focuses his rage on Moroni’s silver dollar, defacing one side of it and lashing out at the cruelty of fate. Deciding that all life hinges on the flip of a coin, Kent projects his duality onto the now-scarred dollar. He resolves to decide his immediate future on a coin toss, promising to wait for Batman’s specialist to be freed if the unmarked side comes up or embark on a criminal career if the scarred side comes up. Of course, the scarred side wins and Kent rebrands himself “Two-Face”, adopting a suit to match his split face and putting his knowledge as district attorney to use in his crimes. Since everything he does is decided by this bizarre coin, one day he and his goons might rob a bank for illicit gain, but the next day he might donate his stolen money to charity! This causes public opinion of him to be fittingly divided, with some branding him a thief and a murderer and others a philanthropist and saviour. Even his goons are confused by Two-Face’s unpredictable nature, but they’re excited when the bad side wins and they undertake an elaborate scheme to rob the Brown Bond Company messenger that sees them hijack a double decker bus to rob the bondsman. As luck would have it, Batman and Robin happen to spot the mugging taking place and swoop in to intervene. Apparently well aware that Kent is Two-Face, Batman tries to talk him out of his life of crime but is stunned when his former friend pulls a gun on him and orders his men to toss him off the roof of the bus!

When Batman confronts Two-Face, the tragic villain is left clueless when his coin fails him.

Although this doesn’t come to pass thanks to Robin accidentally causing the thug driving the bus to be killed, Batman is incapacitated in the fracas and the Dynamic Duo are left to die on the out of control vehicle, though Robin manages to get to the handbrake in time. Back at his thematically appropriate lair (one side is clean and pristine and the other is a shambles), Two-Face chastises himself for his actions. Believing that he’s killed his good friend, Two-Face almost regains his sanity before lashing out at the mirror and murdering his other goon after blaming him for causing the shambles on the bus. Two-Face then steps his game up by targeting the double-feature movie house, since he’s now committed to basing his crimes on the number two, but remains unaware that Batman and Robin survived the bus crash. Upon investigating the dead body of Two-Face’s goon, the Dynamic Duo happen to find a map stuck to the sole of his shoe by a piece of gum! This leads them to the Bijou Theatre, Two-Face’s next target, where Two-Face takes over the projection booth and demands that the audience hand over their loot. While Robin takes out the goons in the projection booth, Batman swoops onto the stage for a brief fight with Two-Face while his pre-recorded message looms and rants in the background. Somehow (it’s really not too clear), Two-Face slips away, but the Batman easily tracks him back to his lair by simply…y’know, following him after Two-Face made the error of driving down a one-way street and attracting police attention. Refusing to go down without a fight, Two-Face again threatens to shoot Batman, but the Dark Knight pleads with him to come along quietly. Batman promises to testify on his behalf to argue temporary insanity and to do everything he can to see Kent gets a light sentence until that specialist can fix his face, but Two-Face is unable to make a decision without flipping his beloved coin. Unfortunately for the tragic villain, cruel fate strikes again and the coin ends up standing on edge, leaving Two-Face conflicted and incapable of deciding whether he should give up his life of crime or kill Batman and continue down his dark path.

Two-Face slips away, continues his unique crimes, and even bests Batman in a fight.

The story continued, fittingly two issues later, in “The Man Who Led a Double Life”, which picks up right where the first story ended and sees Two-Face pocketing his coin, resolving to let fate decide what he does with his life. Unfortunately, a trigger-happy cop bursts in and guns down Two-Face, believing he’s about to shoot Batman, but the bullet strikes the coin in Two-Face’s breast pocket, allowing him to survive and make a hasty retreat by leaping out of the window! Since the bullet hit the scarred side of the coin, Two-Face believes this is fate’s way of telling him to commit himself to his criminal career. His first act is to rob the doubles tennis match (during the daytime, since the coin landed good side up) and donate the cash to charity. Next, he and his goons kidnap matchstick mogul Henry Logan, whose entire home is apparently made out of matchsticks, but Batman and Robin are stunned to find it was actually the cantankerous tycoon’s double who was taken since Kent knew about Logan’s doppelganger from his time as district attorney. Batman and Robin are disgusted by Logan’s indifference towards his double’s fate and his selfishness, but the reclusive hobbyist agrees to pay Two-Face’s $200,000 ransom. However, when Logan and his wife arrive at the disused barn to make the transfer, Two-Face is enraged to find he’s been tricked and that it’s Batman and Robin in disguise! Batman and Robin easily overpower Two-Face and his mooks. Although one of the goons buries Robin under a pile of hay, Batman continues hammering Two-Face after the scarred villain tries escaping on a motorcycle. Laughably, Batman is felled when Two-Face tosses his coin at his forehead; however, Batman is spared since Two-Face “[is] not a killer yet” (despite it being said that he was in the first story) and still has some compassion for his former friend.

Two-Face’s attempt to return to his wife, and succeed at crime, are thwarted by the Batman.

When Batman and Robin return the double to Logan, they find the tycoon to be as grating as ever, so Robin teaches him a lesson by dropping a lit match into his shoe, something the Batman simply laughs about despite the fact that the house place could’ve gone up in flames! Anyway, after spotting a loved-up couple in the street, Two-Face decides to pay a visit to his lost love, Gilda. Gilda is elated when the fully restored Harvey Kent surprises her at home, but he ensures she doesn’t get too close to his face. Over a candlelit dinner, he promises to come back to her and forgo his criminal ways if she waits for him, but is incensed when her happiness turns to horror after the heat from the candles melts the wax make-up covering his hideous scars. Gilda is driven to tears by the revelation that Kent has completely lost himself to wickedness and insanity, but Two-Face flies into a rage when Batman bursts in since he assumes she was colluding with the Dark Knight. Once again, Two-Face escapes through a window and he avenges his misfortune on the mask and make-up factory that cost him his love. Two-Face and his goons beat up the proprietors and torch the place, leaving the mask-maker destitute and his son swearing revenge. The story then leads us to believe that, despite Dick’s warnings, Bruce uses make-up to infiltrate Two-Face’s gang as “Getaway” George when the coin flips in his favour. Two-Face’s next target is the double-header baseball game between the city’s fire and police departments, in which honorary police officers Batman and Robin are publicly seen participating. Two-Face brazenly steals the $50,000 takings and even takes the mayor hostage at gunpoint after Robin beats up his minions. When Two-Face gets back to his lair and finds the cops waiting, he assumes that “Getaway” is Batman in disguise and is stunned when the real Dark Knight barges in to deliver a swift uppercut. It turns out that “Getaway” was the mask-maker’s son working in cahoots with Batman, and Two-Face bitterly comments on the irony of being double-crossed by one of his own gang in the end.

The Summary:
Two-Face’s links to Jekyll and Hyde aren’t simply thematic, they’re explicit. Hell, the first dialogue box on the opening page of “The Crimes of Two-Face” not only refers to Two-Face as “a twentieth-century Jekyll-Hyde” but even shows the disfigured criminal reading a copy of the book! I may be committing a literary sin here, but I haven’t actually read that book so I can only speak to the widely regarded themes of duality and man vs. monster that are at work in the text, but “The Crimes of Two-Face” definitely goes out of its way to draw parallels between Kent’s fate and that classic piece of gothic literature. They are, however, really only skin deep. Sure, we only see Kent for a few panels before he’s hideously scarred, but there’s no indication in either story that he was anything but a model citizen and champion of justice. More than once, he and Batman refer to each other as old friends and Two-Face is noticeably conflicted about the Dark Knight, more so than his criminal career, it seems. Indeed, it’s quite jarring when Kent just suddenly decides he has only two options: wait to be fixed or turn to crime, but it’s pretty well conveyed that his ghastly condition has caused him to snap. Batman refers to him suffering from temporary insanity, the text boxes allude to his rage, and Gilda’s reaction to his outburst all point towards this, but it’s still quite the sudden turn from model civil servant to notorious bank robber. One thing I did enjoy was that the reveal of Two-Face’s horrific visage is kept hidden to start with, so we only see it when he reluctantly reveals himself to Gilda, which builds a sense of anticipation about what he looks like. It’s a shame that he’s depicted with a literal line running down the middle of his face, but I can forgive that given the simplistic art of the time.

Despite Two-Face’s obvious gimmick, there’s little detective work involved in stopping him.

We’re well into Batman’s time as a much brighter, kid-friendly character here. He’s appearing in broad daylight, working alongside the police, and even taking to the witness stand and playing baseball, for God’s sake! Now fully deputised members of the police department, Batman and Robin are seen as assets rather than vigilantes and are specifically brought in by Police Commissioner James “Jim” Gordon to help with the Henry Logan kidnapping case. More importantly, the Batman had a close working relationship with Harvey Kent that sees him repeatedly appeal to his better half in “The Crimes of Two-Face”. Sadly, we never get to actually see the extent of their friendship. It’s simply said and inferred by their dialogue, and neither story explores Bruce’s reaction to his friend’s condition or delves into how conflicted he feels about Two-Face. Instead, Batman tries to out-think the tragic villain, occasionally begs him to listen to reason, and settles for socking him in the jaw when he refuses to come quietly. By the end, Batman views Two-Face as just another colourful supervillain and there’s no indication that he wants to try to help or rehabilitate his former friend; he just wants him locked up. As a villain, Two-Face is both visually interesting, surprisingly tragic, unpredictably volatile, and incredibly restrictive. Since he dictates his actions on a coin flip, his crimes can either be horribly violent or unnervingly charitable, casting him almost as an anti-villain since he’ll help those in need with ill-gotten gains and even kill his own men if they violate his rules. This makes the coin his most obvious Achilles’ heel, but it’s at least tied to his dual and conflicting nature. His obsession with the number two is far more of a crutch and I’m surprised that more wasn’t made of it. Once again, Batman and Robin do very little detective work here (they happen upon that map and Batman simply guesses that Kent would return to Gilda) so there’s no depictions of them trying to figure out Two-Face’s next scheme or running around the city looking for obscure references to the number two. It’s simply them reacting whenever Two-Face strikes or stumbling upon a lead.

Two-Face is a tragic and visually interesting character even in his more basic debut story.

Still, while Two-Face’s complex nature, volatile personality, and relationship with Batman is only touched upon or inferred in “The Crimes of Two-Face” and “The Man Who Led a Double Life”, both stories were surprisingly fun and unique tales. It’s not often that Batman’s villains had such a tragic twist to them back then and the references to Two-Face using his knowledge as district attorney for evil only add to the cruel twist of fate dealt to this once handsome and honourable man. I enjoyed Two-Face’s lamentations, which were suitably Phantom-esque, and his whole gimmick, including the split suit and lair. Despite seeing it as a handicap, I’ve always liked the double-headed coin aspect of the character and I enjoyed how quickly he became fixated on the coin’s decisions and how he was rendered panic-stricken and impotent when the coin landed on its side. I think “The Man Who Led a Double Life” would’ve been served better if it had begun with a babbling and broken Two-Face being taken into custody and seeing doctors try to salvage his mind and face until he inevitably returned to his evil ways, but that was kind of toyed with when he desperately resorted to a wax facsimile to reconnect with Gilda. Overall, the two tales didn’t exactly blow my socks off and there are definitely better Two-Face origin stories and tragic tales out there, but they were entertaining enough. Two-Face is an elaborate criminal with a unique, if narratively exhausting, gimmick and has (and continues to have) a tragic appeal to him that’s prominently introduced here, even with the lacklustre depiction of Kent’s time before his scarring.

My Rating:

Rating: 4 out of 5.

Great Stuff

Have you ever read the two-part debut of Two-Face? If so, what did you think to it, which of the two was your favourite, and where would you rank Two-Face in Batman’s villain hierarchy? Would you have liked to see more backstory given to Harvey Kent? What did you think to his coin, obsession with the number two, and the depiction of his volatile duality? Did you enjoy Batman’s time as a brighter, friendlier character or do you prefer the brooding, grim Dark Knight? What are some of your favourite Two-Face stories and which interpretation of Two-Face is your favourite? Whatever your thoughts on Two-Face, share them below or on my social media, and be sure to check out my other Batman content!

Mini Game Corner [Robin Month]: Batman Forever: The Arcade Game (PlayStation)


In April of 1940, about a year after the debut of arguably their most popular character, Bruce Wayne/Batman, DC Comics debuted “the sensational find of [that year]”, Dick Grayson/Robin. Since then, Batman’s pixie-boots-wearing partner has changed outfits and a number of different characters have assumed the mantle as the Dynamic Duo of Batman and Robin have become an iconic staple of DC Comics. Considering my fondness for the character and those who assumed the mantle over the years, what better way to celebrate this dynamic debut than to dedicate every Thursday of April to celebrating the character?


Released: 1996
Developer: Probe Entertainment / Iguana Entertainment / Iguana Entertainment UK
Also Available For: Arcade, MS-DOS, and SEGA Saturn

A Brief Background:
It’s easy to forget now but Batman Forever (Schumacher, 1995) was a pretty big deal for Warner Bros. back in the day; not only had they sunk $100 million into the film but they were desperate to appease those who were outraged with the dark, macabre content of Batman Returns (Burton, 1992) and craft a film that would be more appealing for the sponsors. While it garnered a mixed critical response, Batman Forever made over $330 at the box office and was accompanied by a slew of merchandise and ancillary products. Like its predecessors, Batman Forever also received a tie-in videogame that marked Acclaim’s first foray into the arcade scene. However, the 2.5D beat-‘em-up was met with mostly mixed reviews but still fared better than Acclaim’s other home console adaptation of the movie.

First Impressions:
If there’s three things you can always count on with me, it’s that I’m a big fan of arcade titles, sidescrolling beat-‘em-ups, and Batman. Although I didn’t grow up with a Super Nintendo Entertainment System (SNES), emulators have allowed me to have a great deal of fun with Batman Returns (Konami, 1993), which was a cracking licensed videogame simply because it aped the formula of genre staples like Final Fight (Capcom, 1989) and X-Men (Konami, 1992). While Batman Forever had an extremely dismal and almost unplayable sidescrolling adventure game released on Mega Drive and SNES, arcades were blessed with this far more enjoyable and fitting videogame, which thankfully came to the PlayStation so I was able to snap it up (and at a pretty good price, too, all things considered). Batman Forever: The Arcade Game can be played on three different difficulty settings (Easy, Normal, or Hard), with enemies increasing in number and toughness on the harder difficulty settings, and allows you to assign yourself up to seven continues. You begin the game with three lives and, once you’ve lost all three, you can enter a high score and switch your character to return to the action once more. In terms of controls, Batman Forever is as simple as it gets: one button punches, one kicks, and one jumps and that’s it. you can customise these in the options menu and choose to play as either Batman or Robin (or both together, if you have a friend), before jumping into the game proper. There doesn’t appear to be any technical differences between the two, but they do have different animations and Robin seems to be a bit faster on his feet, but that could just my psychosomatic on my part. Right away, you’re treated to a pretty impressive in-game cutscene as Batman and/or Robin heads to the streets of Gotham City in the Batmobile, and the first thing you’ll notice is how impressive and ambitious the graphics are. The game utilises pre-rendered, 2.5D backgrounds that, while murky and a bit washed out, are immediately evocative of many of the neon-drenched, bizarre locations seen in the film, such as the graffiti-and-litter-strewn streets, Edward Nygma/The Riddler’s big gala (with partially animated guests in the background), and Harvey Dent/Two-Face’s lair among others. The playing field allows you to wander into the background, with sprites scaling accordingly, though they do lose a fair amount of graphical fidelity, becoming even more pixelated and ugly as you move about.

While the game is cluttered and chaotic, it’s full of action and fun ways to beat up thugs.

Sprites in general look decent enough; they appear to be digitised, similar to the early Mortal Kombat games (Midway/Various, 1992 to 1996), and Batman and Robin have a glistening sheen to them that makes them look like action figures. Batman looks a little goofy, with his massive chest symbol, but Robin looks pretty good; the thugs you encounter, however, are swarms of Two-Face’s goons, robots modelled after the Riddler’s fortune teller machine, and other generic beat-‘em-up mooks, none of whom have a life bar. The sheer number of enemies is pretty impressive and overwhelming, however. It doesn’t take much for you to get pummelled to death as enemies swarm around you and trap you in an unblockable beatdown, and enemies will fire guns, toss grenades, drive motorcycles and cars at you as well as spring out from the scenery. To make matters worse, Two-Face occasionally pops in, riding a wrecking ball or shooting rockets at you from the foreground, though there are times where you can swing and grapple parts of the environment to barge trough enemies. Combat is a pretty simple affair, with you mashing punch and kick to string together combos, tossing and jump-kicking enemies as you’d expect, but the game makes a big deal out swamping you with various power-ups. As you take out enemies, little Bat Symbols scatter everywhere which power-up your “Combo Meter” as well as a variety of gadgets and pick-ups: Bat-Signals, Two-Face Ying-Yangs, and Riddler Symbols appear frequently, bestowing either gadgets or temporary buffs and debuffs. When you grab a gadget, like the Batarang, grapple gun, taser, or Bat Bola, your regular attack is replaced with a projectile; the grapple gun is particularly useful for landing up to 150 hit combos on enemies and sees you swinging and flailing all over the screen, while the Batarangs can quickly rack up points and the taser and bola can stun enemies for a short time. You can also pull off a screen-clearing attack, summon bats to protect and attack enemies, and toss a stun grenade, and all of these attacks will increase in power and change their appearance as your meter builds higher. However, this can make the combat and action extremely chaotic as the screen is constantly filled with enemies, items, and your almost incomprehensible attacks, making for a very frantic and confusing experience.

My Progression:
As you fight your way through the game, you can pick up and throw objects, grab the odd bit of health to sustain yourself, and will be blessed or cursed with power-ups such as invisibility, duplication, invulnerability, and shrinking you (or your enemies), among others. After clearing a stage, your score is tallied up; the more enemies you defeat and the more gadgets and such you use, the better your score and rewards. You can then pick from these rewards to start the next stage with a gadget or power-up advantage; some are merely cosmetic, like “VR Mode”, which sees enemies burst into green computer coding upon defeat, while others increase your combo by default, allowing you to build your meter faster. There are no save points, password, or checkpoints in the game, however; once you exhaust all of your continues, the game is over and you’ll need to start from the beginning, which is always a pretty shitty thing to do in a home conversion of an arcade game since its purpose isn’t to relieve you of your pocket money. All I’m saying is at least have the option to earn more lives or continues, or limit your continues on the harder difficulties and have them disabled entirely on Easy mode.

Unfortunately, I wasn’t able to save Gotham from the villains’ mad schemes…this time…

Naturally, you’ll have to battle a few bosses over the course of your playthrough, however not as many as you might think. The game is structured more to have you battle wave upon wave of the same goons over and over until you reach the end of a stage, where a boss may be waiting for you, but it’s not always the case. I didn’t fight a boss until the second stage, for example, which pits you against three slightly tougher goons: Nick, Blade, and Flex, each of which fires at you with an Uzi, tosses grenades, or throws knives at you and can block your attacks (something you’re incapable of doing). You’ll know when you’re facing a boss as they actually have a life bar and the screen flashes dramatically after you defeat them, and these three weren’t all that difficult but, again, it’s easy to get caught in a crossfire and just whittled down to nothing in no time at all. At the end of an alleyway, you’ll fight Tassel (who seems to be the neon-painted, clown-like goon who hassled Dick in the film), who’s joined by a couple of gun-and-grenade-toting henchmen and shows off a bit of flippy, martial arts skill. After battling through goons on a rooftop, you’ll be confronted by a helicopter and a seemingly endless supply of enemies; simply fend them off, dodging the chopper’s machine gun fire, and press attack to toss projectiles when prompted. Two-Face will continually pop up to fire rockets at you in the subway and at the gala, and two of the Riddler’s robots will attack you with their extendable arms to cover their escape. These then become regular enemies in a construction site full of explosive barrels, where you’ll battle Feather and Stew, with Feather proving pretty tough thanks to being very handy with his bo staff. My run came to a disappointing end in Two-Face’s lair, however, where his beautiful bodyguards, Sugar and Spice, absolutely wrecked me with their fast attacks, which pummelled me from both sides without any chance of fighting back, treating to me to a rather bland game over screen (in the Batman: The Animated Series (1992 to 1999) font, no less) informing me of my failure to save Gotham City.

I was having a pretty good time with Batman Forever: The Arcade Game once I got past the visual and sensory overload. The game includes a renditions of Elliot Goldenthal’s score and some brief sound bites from the movie, but the sheer number of enemies and chaos happening onscreen at any one time can be a little overwhelming. The game looks fairly decent, even though things can get a bit ugly and distorted at times, but the depth of combat is a little odd compared to other beat-‘em-ups; the gadgets and various pick-ups mean there’s always something happening and you can rack up big combos, but it also feels like a lot of control is being taken away from you as Batman and Robin leap into action with these big, elaborate movements at the touch of a button. Unfortunately, neither are particularly durable; your health bar can be whittled down to nothing in the blink of an eye and you’ll burn through your lives and continues in no time, with no passwords or cheat codes to make things easier for you. It’s probably do-able, maybe in two-player mode, and I’m sure I’ll return to it again as I do enjoy a bit of sidescrolling, beat-‘em-up action, but lumbering you with limited continues for a home console release always irks me and there’s not really anything to unlock or to discover outside of the main campaign, which continues basically no story and very few cutscenes (and even these are limited to the in-game graphics, impressive as they can be). I’d like to know if you’ve ever played this one, either in the arcade or at home, and how well you fared against Gotham’s colourful swarms of criminals? Which character did you prefer, and what did you think to all the gadgets and power-ups? Which licensed Batman game is your favourite? Who is your favourite Robin and how are you celebrating the Boy Wonder’s debut this month?  Whatever your thoughts on this game, and Robin in general, sign up to leave them below or share your thoughts on my social media, and check back soon for more Robin content!

Game Corner [Bat-Month]: Batman: Arkham City (Xbox 360)


In the decades since his first dramatic appearance in the pages of Detective Comics, Bruce Wayne/Batman has become a mainstream, worldwide, pop culture icon. The brainchild of writer Bob Kane, Batman was brought to life by artist Bill Finger and has been a popular staple of DC Comics and countless movies, videogames, and cartoons over the years. Accordingly, September celebrates “Batman Day” and is just another perfect excuse to celebrate comic’s grim and broody vigilante and, this year, I’m dedicating every Wednesday of September to Gotham’s Dark Knight Detective.


Released: 18 October 2011
Developer: Rocksteady Studios
Also Available For: PC, PlayStation 3, PlayStation 4, Wii U, Xbox One, Xbox Series S/X

The Background:
Batman quickly became a successful and dynamic character after his 1939 debut in DC Comics; over the years, the character’s world and mythos has grown considerably to include numerous spin-off comics and adaptations into not just cartoons and movies but also videogames. While Batman has fared rather well in that department, it can’t be denied that there were a few stinkers as well before Eidos Interactive acquired the rights to make a Batman game and brought in both Rocksteady Studios and celebrated Batman scribe writer Paul Dini to create the critically and commercially successful Batman: Arkham Asylum (ibid, 2009) at a time when the character was hot off a resurgence thanks to the recent success of The Dark Knight (Nolan, 2008). Development of a sequel began work before Arkham Asylum had even been completed; despite apprehensions about system limitations, Rocksteady had big ideas for the sequel, which would move away from the claustrophobic trappings of Arkham Island and into more open world territory. Having learned from their mistakes and feedback from the first game, the developers greatly expanded Batman’s arsenal, animations, and gadgets to make him a more capable character and significantly expanded the range of exploration and side missions available to players in the much-larger game world. All of that hard work paid off as Arkham City became one of the fastest selling videogames in history. Critically, the response was universally positive; critics lauded the voice acting and additional features and the high quality of the game’s mechanics and content. The game was so successful that it was released in multiple editions with access to different downloadable content (DLC) and won numerous awards for the sheer expansiveness of its included, and additional, content.

The Plot:
After the events of Arkham Asylum, the city’s criminals have been locked up inside a walled off section of Gotham City known as Arkham City, where supervillains and TYGER mercenaries under the command of Doctor Hugo Strange enforce martial law. Infiltrating the prison to investigate Strange’s unlawful incarceration of those who spoke out against him, the odds against Batman increase when the Joker shows up, apparently dying from TITAN poisoning, and infects Batman with his blood, forcing him to delve into the city’s underworld to find a cure.

Gameplay:
Like its predecessor, Batman: Arkham City is a third-person, action/adventure game but, this time, you’re prowling the streets and rooftops of “Old Gotham”, a dilapidated and rundown area of Gotham that has been encased in high perimeter walls sporting gun turrets to house the city’s undesirables. Arkham City’s game world is five times the size of the one seen in Arkham Asylum and features even more recognisable landmarks from Batman’s famous city and areas to explore, as well as an endless supply of inmates and lowlifes to get your fists on. One of the best things about Arkham City is how the control scheme and core mechanics remain exactly as in the first game, just expanded considerably. Once again, Batman’s main method of traversal is his operatic cape and grapnel gun, which can now be used in conjunction and upgraded to allow him to effortlessly zip across the city. You can also dive bomb while gliding to take out enemies or pull up and gain additional height and length on your glide, allowing you to traverse the city prison in no time at all.

Combat and stealth are more fluid and satisfying than ever thanks to additional animations and options.

This more than makes up for Batman’s continued inability to jump and allows him to easily dart out of danger when spotted; Batman can still crouch with the Right Trigger and toss a quick Batarang with the Left Trigger, but now he can also quick-fire other gadgets, which is incredibly useful in combat and for solving the myriad of brain-teasing puzzles scattered around the city by Edward Nashton/Edward Nygma/The Riddler. The “freeflow combat” mechanic of the previous game returns intact but greatly expanded thanks to the addition of more attack animations and combos; X allows you to strike in quick succession while a well-timed press of Y (indicated when the “counter” indicator appears) will allow you to block and counter incoming attacks and rack up a bigger and more fluid combo. The higher your combo, the more damage you’ll deal and the more dynamic the perfectly-placed fight camera will move to allow you to lunge at other enemies before they can land a blow. Since the streets are crawling with a seemingly inexhaustible supply of thugs this time around, there are far more opportunities to sneak up on them and perform a “Silent Takedown”, but this time you can perform a “Knockout Smash” (though this will attract nearby enemies) and you can even perform takedowns from floor grates, double or even triple counters and takedowns when in combat, attack parts of the environment (like fire extinguishers and electrical boxes) to disorientate or disarm opponents, and even slam inmates into walls or dangle them over ledges during combat or interrogations.

New additions to the Predator sections increase the threat to Batman and his takedown options.

Also returning is the stealth-based “Predator” mechanic; in addition to sneaking up on enemies, Batman can grapple up to stone gargoyles and other high ledges to review rooms of armed thugs using the x-ray and thermal vision offered by his “Detective Mode”. A simple press of the Left Bumper and you’ll be able to see enemies by their body heat, their current condition, and any interactable parts of the environment. Batman’s new array of gadgets (easily accessed using the directional pad) can also be used in new ways to lure enemies into traps or take them down and, while traversing the city, you’ll need to make liberal use of these (and Batman’s new smoke pellets) to dart away from gunfire and dispatch gun-toting enemies. Again, Batman is tough but can’t take sustained gunfire or explosions; however, his health will replenish after you clear out all nearby enemies, solve riddles, or find the many Riddler Trophies. These same criteria will earn you experience points (XP) to improve Batman’s armour, abilities, and weaponry once more but the game definitely mixes things up by having enemies be able to jam your Detective Vision and electronics and lay traps of their own.

Navigation is easier than ever thanks to a comprehensive map, waypoint, and compass system.

If you thought Arkham Asylum had a lot of riddles and Riddler Trophies, then Arkham City will blow your mind! The Riddler has placed his trophies not just out in the open but hidden behind walls, in cages, and a myriad of pressure pads and context-sensitive puzzles that will require all of Batman’s skills and gadgets to acquire. Similarly, there are riddles to find across the city and you can solve them by tapped LB to scan the environment when you spot glowing green question marks or the answer to the riddle. This time, there are also far more destructible elements to snag you some XP; the chattering Joker teeth return but you’ll also be destroying TYGER security cameras, balloons, and massive bobbleheads of Doctor Harleen Quinzel/Harley Quinn, which all adds to the fun, as well as more opportunities to use your gadgets to open vents or shut off steam from pipes. The map screen returns, far more expansive and user friendly (as are all of the menus) than before; you can now set waypoints to your next mission or any other location on the map and a very useful onscreen compass and Bat-Signal will direct you towards your location with a minimum of fuss. Take note, though, that these features are suppressed when you have Detective Mode activated but, again, there are some opportunities to track targets using this vision mode.

The streets are crawling with more baddies than ever and they’ll repopulate areas as you progress.

Like the first game, Batman: Arkham City gets progressively difficult as you play but this is expanded upon greatly. You might come across a gang of Harvey Dent/Two-Face’s minions and engage them in combat, only for more and more nearby inmates to hear the fight and join in, for one thing. These enemies will, eventually, repopulate areas after you’ve cleared them out so you constantly have to be aware of enemies on the streets and rooftops and, like in the last game, enemies will increase in their aggressiveness and capabilities as you progress through the story. Also, like before, you can select different difficulty levels to play the game on from the start, with “Hard” mode including counter indicators this time but increasing the damage enemies will put out, but there are no Achievements tied to playing on Hard mode so you may as well play on “Easy” or “Normal” since “New Game Plus” offers an even tougher challenge than the game’s Hard mode. Where Arkham City excels, though, is in its sheer size; Arkham City is full of buildings to enter, Easter Eggs and references, riddles to solve, and side quests to keep you busy. For a returning player like me, it’s really easy to get distracted with side quests on your way to the main story objective and you can keep track of all outstanding missions from the main menu. From here, you can also view stories and character biographies, review Batman’s moves and abilities (and even view a tutorial if you need a refresher), and check up on any outstanding riddles and such. In fact, the only real downside to Arkham City is, again, the inability to quickly exit an area, which can be particularly bothersome when deep in the bowels of the city subway or the forgotten steampunk city, Wonder City, as it can still be a tad laborious to find your way back out sometimes.

Graphics and Sound:
Batman: Arkham Asylum managed to hold up impressively well over time and Arkham City holds up even better; it was already a big step up in terms of graphical quality and visual presentation so it’s only natural that it’s aged even better. As before, it’s a very dark game and takes place in one night so you might be relying on your Detective Vision or brightness settings to navigate in some areas but, thanks to many of the game’s locations taking place in indoor, more suburban (if equally dilapidated) areas, there are far more opportunities to bask in the impressive art direction of the game. Arkham City is split into different regions, with each one being primarily controlled by gangs of thugs affiliated with a different supervillain (Oswald Cobblepott/The Penguin, Two-Face, and the Joker) and having a distinctive feel to them.

Each region of Arkham City is controlled by a different villain and has a different look to it.

Because the game takes place within a walled off cityscape, it must be said that it’s not immediately as visually distinctive compared to its predecessor as you’re surrounded by skyscrapers but I can forgive this as there are far more opportunities to see and explore the wider mythos of Batman’s world. You’ll stumble across Crime Alley, explore the remains of the old Gotham City Police Department (complete with Bat-Signal on the roof), fight through the museum and into the Penguin’s Iceberg Lounge, and take on the Joker’s gang at the dilapidated remains of the Sionis steel mill over on Amusement Mile. Similar to Arkham Island (which you can still see lingering in the misty distance), the city prison is a rundown, desolate place full of graffiti, burned out cars, litter, and chaos and there’s a real sense that the dogs have been literally let loose within its high walls and have turned the city into a veritable war zone. As you might expect, there are some more intricate and elaborate areas of the city, too. You can venture down into the abandoned subway and, of course, navigate through some stony catacombs and sewers beneath the city but, luckily, the game is far bigger and makes much better use of these environments when it comes to utilising Batman’s abilities so there’s far less awkward jumping and climbing and much more emphasis on the Line Launcher and grapnel boost, though you will need to get used to the new dive bomb mechanic in order to swoop in through some tight areas and get 100% completion.

Some nightmarish sequences, jump scares, and chilling encounters add to the world’s mythos.

Things definitely start to take a more visually interesting turn once you venture into the abandoned Wonder City, a town populated by deactivated robots and lost to the midst of times, and scale Wonder Tower to confront Hugo Strange. Sadly, there aren’t the same dynamic sections as those involving Doctor Jonathan Crane/Scarecrow from the last game but Arkham City does go to some lengths to recreate these sections when the plot demands that Batman suffer the effects of his poisoning. Later, during a side quest involving Jervis Tetch/The Mad Hatter, you’ll experience a much more similar, twisted nightmare world but the game does include far more elaborate and layered areas to explore that change as the story progresses. The GCPD will freeze over because of Doctor Victor Fries/Mister Freeze, the steel mill needs to be cooled down and then you have to enter through a different entrance that involves navigating past giant machinery and drills, Julian Day/Calendar Man is imprisoned beneath the courthouse, and the museum contains a gigantic frozen pool with a very large and unfriendly denizen awaiting you.

The attention to detail, new villains, and cameos are even better than ever this time around.

Thanks to the diversity in the game’s inmates, enemies have a lot more visual variety this time around as they wear different colourings and outfits. There is also a lot more chatter as Batman picks up on his enemy’s radio signals and broadcasts, with both Joker and villains like Penguin taunting you and issuing commands to their underlings. Batman’s suit, while visually very similar to the last one, still takes on battle damage as the story progresses and, as you’d expect, both Kevin Conroy and Mark Hamill knock it out of the park with their stellar work as Batman and Joker, respectively. Like before, Batman stops to converse with Barbara Gordon/Oracle but he also talks with his faithful butler and father-figure, Alfred Pennyworth, who sends additional equipment and offers council. The game also features far more references to Batman’s cast of characters and the wider DC universe and there’s even a much-appreciated cameo from a really well-designed version of Tim Drake/Robin for good measure. Cutscenes still make liberal use of the in-game graphics, which are even closer to the higher quality cinematics, and you’ll now see a helpful little recap of the story and your current outstanding missions when reloading a save.

Enemies and Bosses:
With Arkham Asylum gone, its inmates and the rest of Gotham’s criminals have been tossed into Arkham City instead; for the most part, the bulk of the game’s enemies are the same scumbags you fought in the last game but in different clothing and with more jeers to throw your way. Inmates will throw punches, grab weapons, toss items at you, and attack with both knives, guns, grenades (in a new twist), electrical batons, and will even pick up car doors to use as shields and ram you. Eventually, you’ll also have to contend with snipers, enemies wearing collars that will attract their allies when they’re downed, enemies that can jam your technology, ones that take hostages, and thugs will even use thermal vision to spot you and start destroying the ledges you’re hiding on if you linger too long or fail to stay hidden. While the crazed lunatics from the last game are gone, the TITAN monsters make a return and some inmates with be decked out in protective armour. A simple Batarang to the face is no longer enough to dispatch these goons; this time, you must use three cape swipes to stun them and mash X to beat them into submission while also countering incoming attacks. You’ll also have to contend with the one-armed Abramovici twins a number of times; these big bastards swing huge sledgehammers or scythes and must be blasted with a bolt from Batman’s Remote Electrical Charge gun to inflict damage on nearby enemies and pummelled with your attacks as they can’t be stunned so you have to strike, hop over to avoid their swings, and strike again to defeat them.

Solomon Grundy more than makes up for Two-Face and Penguin’s lack of physical challenge.

Arkham City is populated by a number of Batman’s most notorious rogues, basically all of them being new additions to the roster of bosses. The first you’ll encounter is Two-Face, who has taken over the courthouse and held Selina Kyle/Catwoman hostage. This is more of a tutorial for the basics of combat and Dent is dispatched by Catwoman in a cutscene rather than in an actual boss fight, and the following encounter with the Penguin is quite similar. This is basically the culmination of a side mission that sees you rescuing frozen police officers, freeing Mr. Freeze, and acquiring tech from his suit to deactivate his freezing gun (which the Penguin is using to keep you at bay). In fact, the first real physical challenge you have (aside from gladiatorial bouts against swarms of inmates or fights against one of the Abramovici twins) follows this encounter with the Penguin, which sees you facing off against the hulking zombie Solomon Grundy. You fight Grundy in a kind of gothic laboratory and must use your quick-fire explosive gel to close up three holes on the floor that regenerate Grundy’s health with lightning (while dodging said lightning) and allow you to put a beating on Grundy. This continues into the next phase, where Grundy tries to crush you with leaping attacks and two giant wrecking balls and sends weird little mice-things scuttling towards you. The third phase is more of the same but Grundy has one arm trapped in a machine; this time, the floor holes open sporadically for even shorter bursts and you need to avoid the shockwaves Grundy produces. Once he’s finally defeated, you have to dodge out of the way of the Penguin’s missile to punch him out once and for all, all of which is more interesting and engaging than the final boss of the last game.

While Rā’s tests your reflexes, you’ll need to use all of Batman’s skills and gadgets to bring down Mr. Freeze.

The next main story boss you’ll battle is Rā’s al Ghūl but, before this, you must first track down one of his ninja assassins by her blood trail, get past more of them in Wonder City (they can dodge your strikes and teleport in puffs of smoke before attacking with sword swipes), and endure the “Demon Trials” (gliding sections through a twisted hellscape where you can’t touch anything but the highlighted areas). You’ll face Rā’s in a desert that is part delusion, part reality, and have to take out hoards of sand men while he dashes at you from out of nowhere. Once you get past them, you must dodge the shurikens and blades he sends your way while blasting at him through his human shield with your Disruptor, and then mash Y to counter his attacks. The speed and aggressiveness of his attacks increases as the fight goes on but the final blow comes down to a well-timed toss of the reverse Batarang and Rā’ later meets a very gruesome end for his part in the game’s events. Next, you’ll have to take on easily the most intricate and complex boss of the game (or most games, for that matter) as Mr. Freeze betrays you and forces you into a confrontation. Depending on the difficulty you’re playing on, you may be forced to use every single one of Batman’s gadgets and abilities to deal damage and leave him vulnerable for a beatdown as Mr. Freeze learns and adapts his strategy as the fight progresses. Mr. Freeze will plod around the laboratory searching for you and sending heat-seeking globes to seek you out; you can use Batman’s glide attack, takedowns, and gadgets (like the explosive gel and Remote Electrical Charge gun) to deal damage but he’ll take action to ensure that you can’t do this twice (he freezes the ledges, grapple points, and vents, destroys parts of the environment, erects a shield, among other defensive measures), which forces you to think on your feet and explore options you might not normally use.

After stopping Strange and defeating Clayface, you’ll find some other villains to take down.

In the game’s finale, Strange activates the mysterious “Protocol 10” and commences a strategic bombardment of Arkham City; this briefly forces you to hack into circling helicopters in order to get inside of Wonder Tower and shut Strange down but, after you do, you’re forced into a confrontation with the Joker, who seems revitalised and has taken Talia al Ghūl hostage. Earlier in the game, you actually fight the Joker in his base form while his goons and out of control dodgem cars fill the arena but, when you confront him at the end, it’s revealed to have been Basil Karlo/Clayface in disguise; thus, the finale is, again, a battle against a hulking enemy. This time, you have to dodge Clayface’s cannonball attack and swinging arms while repeatedly spamming Freeze Blasts to whittle his health down. In the second phase, you grab a sword and slice up the mud men he spawns while repeating these tactics and avoiding his big sledgehammer shot in order to take him down. In between each of these main mission boss fights, you’ll come across a number of side missions that will draw you into confrontations with more of Batman’s rogues gallery: Floyd Lawton/Deadshot has been killing targets all over the city but Batman eventually tracks him down and must sneak past his one-shot rifle-arm to take him down; Victor Zsasz/Mister Zsasz has been killing people by luring them to ringing phones so Batman has to listen to his macabre life story to triangulate his location and then sneak around him in a partially flooded area to rescue his hostages; the Mad Hatter abducts you and forces you to battle waves of demonic rabbits; and the Riddler has also taken five hostages and placed them in Saw (Wan, 2004)-like traps. These hostages can only be saved by finding the Riddler’s Trophies, solving riddles, and interrogating his informants (highlighted in green) to gain access to his “Enigma Device” and locate each one in turn using the Cryptographic Sequencer.

Power-Ups and Bonuses:
As before, Arkham City features a level-up progression system; every time you defeat enemies, solve riddles, or pick up Riddler Trophies and destroy cameras and such, you’ll gain XP. Upon levelling-up, you can again upgrade Batman’s armour (now separated into one that improves damage from melee attacks and one from gunfire) to gain additional health, add more elaborate takedowns to his repertoire (including a swarm of disorientating bats, bone-breaking takedowns, and weapon disarmaments), and upgrade his various gadgets to improve their range and efficiency. Again, it’s pretty easy to fully upgrade all of Batman’s abilities if you engage with enemies and search out riddles on a regular basis, and it’s best to mix and match your upgrades for a balanced playthrough but you can choose to focus on making Batman more durable if you so wish.

Batman’s new toys let him charge power points and create temporary platforms, among other things.

Batman begins the game with many of the gadgets he had at the end of the last one, making him far more equipped for the rigours of Arkham City; many of his weapons, such as the grapnel gun and explosive gel, can now be used as quick-fire attacks to mix up your combos to allow for more diverse combat. Although Batman can no longer rip down walls with his grapnel gun, the Line Launcher can be upgraded to fire a second line and allow Batman to walk along it like a tightrope and he also has access to some new toys. The smoke pellets allow him to disorientate enemies and make an escape if needed, the Remote Electrical Charge gun allows him to power up electrical appliances, the Disruptor deactivates mines and renders up to two enemy guns useless, and the Freeze Blast (and upgraded Freeze Cluster) can plug up steam pipes and form ice floats on bodies or water to allow Batman to float around by grappling onto conveniently-placed hooks around the environment.

Additional Features:
Batman: Arkham City has fifty Achievements to earn, with the bulk of these popping simply by playing through the story, meeting certain objectives, and defeating bosses. One has you fiddling with the Xbox’s internal date and time in order to hear Calendar Man ’s chilling acts while most of the others are tied specifically towards starting or completing the game’s many side missions rather than solving or finding riddles (although this is a factor since you need to do this to rescue the Riddler’s hostages). No matter what difficulty you complete the game on, you’ll unlock a New Game Plus mode that offers and additional difficult challenge, mixes up the enemy placements, allows you to play the story with any additional DLC costumes, and carries over all of your gadgets and upgrades to a new game file. You’ll also be able to return to your original save file in a post-game world where the inmates will comment on the dramatic conclusion of the game and be freely able to switch to Catwoman at certain points on the map.

Alongside the Riddler challenges, there are a number of additional side quests to occupy your time.

This is super useful if you have any outstanding side missions to complete; not only are there some diving simulations to complete and a bunch of Riddler challenges tied to performing combat and gameplay manoeuvres, there are many other mysteries and villains out there to confront, such as tracking down Thomas Elliot/Hush (who has been mutilating victims to impersonate Bruce Wayne), figuring out the motives of the mysterious Michael Lane/Azrael, saving a number of political prisoners from random acts of violence, locating and reunited Nora Fries’ cryogenically frozen body with Mr. Freeze, and destroying TITAN containers in a fragile alliance with Bane. Additionally, there are way more Riddler Trophies hidden throughout Arkham City, many of which require precision gliding, pressing pressure pads, and using a variety of Batman’s gadgets to pick them up. Catwoman also has her own Riddler Trophies to pick up and, while there are no audio tapes to find this time, you can still unlock biographies, news stories, and audio clips by solving and finding riddles. As before, the game features a Challenge Mode, now rebranded as “Riddler’s Revenge”, which allows you to take on self-contained combat and predator challenges based on encounters in the game. You’ll battle a few waves of increasingly difficult enemies and rack up points by sustaining and varying your combos and pick off goons from the shadows while handicapped by a number of modifiers (such as disabling your Detective Mode, shielding enemies from damage, or having reduced health).

Arkham City makes up for the last game with a whole bunch DLC skins, characters, and challenge maps.

There is also a new series of “Campaign” maps that mix up the two challenges to present a sort of adjacent side story to the main game and you can compare your high scores against friends and other using the online leaderboards. These challenge maps, and the main game itself, can be expanded by purchasing the many different DLC packs for the game. As mentioned, Catwoman was a big selling point of the game and those who pre-ordered Arkham City or purchased her DLC can switch to playing as Catwoman during the story to follow a side mission involving Poison Ivy and stealing from Hugo Strange. The DLC for Arkham City is such a massive step up compared to the last game, adding twenty Achievements to collect and numerous costumes for Batman to use in New Game Plus and on challenge maps, and, best of all, the ability to play as Robin and Dick Grayson/Nightwing in the challenge maps. Each of the four playable characters plays a little differently (Catwoman is faster but weaker, slashes with her claws and tosses bolas; Robin uses his bo staff, riot shield, and faster (but shorter) version of the Batclaw; and Nightwing batters thugs with batons and utilises his acrobatic skill to take out enemies) and has their own gadgets but, sadly, only Catwoman is available to play as in the main game. Robin does take centre stage in a post-game DLC story, “Harley Quinn’s Revenge”, that sees him infiltrating the steel mill to rescue Batman; I had all of this DLC on the PlayStation 3 and greatly enjoyed the variety offered by the skins and each character but I do wish that the studio had allowed these additional characters to be used in the actual main game.

The Summary:
I was massively impressed with Batman: Arkham City when I first played it on the PlayStation 3; the game was just so much bigger and better than the original thanks to expanding the scope of the game world and the range of Batman’s abilities and gadgets. Everything that worked in the original game is back and improved upon, making combat even more fluid and diverse and truly defining the essence of Batman to set the standard for the remainder of the series. Rather than being confined to a claustrophobic, gothic prison, Batman is freely able to roam and fight around a dilapidated, walled off section of the city full of Easter Eggs, references, inmates to fight, secrets to find, and side missions to keep you busy for far longer than the first game. Best of all, the game is packed full of post-game and additional content thanks to these side missions, the New Game Plus mode, the expanded Challenge Mode, and the impressive abundance of DLC. Including additional skins, a short post-game story, and two of my favourite Batman characters in Robin and Nightwing really helps to expand the lore of this interpretation of Batman’s world and offers far more replay value. For me, Arkham City is still the gold standard for the Batman: Arkham series (Various, 2009 to 2015) and, while Arkham Asylum finally offered all of Batman’s abilities in a fun and engaging way, Arkham City expanded on them to the nth degree and truly defined what it means to play as Batman in an open world environment and it definitely deserves all of the praise it earned upon release and even to this day.

My Rating:

Rating: 5 out of 5.

Fantastic

What did you think about Batman: Arkham City? How do you feel it holds up compared to the original games and its sequels? Did you enjoy that the game world was expanded into a city-sized open world or did you prefer to more claustrophobic aesthetic of the first game? Which of Batman’s new gadgets and rogues were your favourite to use or fight against and why? Did you ever track down all of the Riddler’s trophies and secrets? Which of the side missions was your favourite to complete? What did you think to the game’s DLC and would you have liked to see Robin and Nightwing playable in the main game? How are you planning on celebrating Batman Day this year and what is your favourite Batman videogame? Whatever you think about Batman: Arkham City, or Batman in general, please leave a comment below and check back in next Wednesday for my review of the next Arkham videogame!

Movie Night [Robin Month]: Batman Forever


In April of 1940, about a year after the debut of arguably their most popular character, Bruce Wayne/Batman, DC Comics debuted “the sensational find of [that year]”, Dick Grayson/Robin. Since then, Batman’s pixie-boots-wearing partner has changed outfits and a number of different characters have assumed the mantle as the Dynamic Duo of Batman and Robin have become an iconic staple of DC Comics. Considering my fondness for the character and those who assumed the mantle over the years, what better way to celebrate this dynamic debut than to dedicate an entire month to celebrating the character?


Released: 9 June 1995
Director: Joel Schumacher
Distributor: Warner Bros. Pictures
Budget: $100 million
Stars: Val Kilmer, Tommy Lee Jones, Jim Carrey, Nicole Kidman, Chris O’Donnell, Michael Gough, and Pat Hingle

The Plot:
As Gotham City is terrorised by former district attorney turned acid-scarred supervillain Harvey Dent/Two-Face (Lee Jones) and Edward Nygma/The Riddler (Carrey), Bruce Wayne/Batman (Kilmer) struggles with his life’s mission and to discourage Dick Grayson (O’Donnell) from following the same dark path.

The Background:
Batman (Burton, 1989) was a massively successful adaptation of the DC Comics character, whose popularity had been somewhat waning and was in the midst of a dark, gritty reinvention. Although director Tim Burton was initially not interested (to say the least) in returning for a sequel, he was persuaded when Warner Bros. afforded him substantial creative control over the film’s production. However, while Batman Returns (ibid, 1992) brought in over $280 million in worldwide revenue against a $65 to 80 million budget, the film was criticised for its far darker presentation. While the film enjoyed mostly positive reviews, Warner Bros. were dissatisfied with its box office compared to the first film, parents were outraged by the film’s dark, macabre content, and McDonald’s were equally upset at being associated with such a gruesome movie. In response to this, Warner Bros. made the decision to replace Burton with a new director, eventually settling on the late Joel Schumacher, while keeping Burton on in a token producer role.

Returns‘ more ghastly aspects frightened investors, leading to a more light-hearted Bat-romp.

Although Schumacher initially wanted to produce an adaptation of Batman: Year One (Miller, et al, 1987), Warner Bros’ weren’t too keen on this idea and pushed, instead, for a more light-hearted affair that would sell toys and be more akin to the popular Batman television show of the sixties. This approach held little appeal for Michael Keaton, the star of the previous two Batman movies, and the role was recast with the notoriously-difficult, but far more physically-imposing, Val Kilmer assuming the mantle. Despite the wildly different tone of the film, Batman Forever contained a number of allusions, call-backs, and references to the previous films to set it in roughly the same continuity (save for recasting Harvey Dent from smooth-talking Billy Dee Williams to the maniacal Tommy Lee Jones). Warner Bros’ new approach appeared to be successful, with the film making over $330 million at the box office and pleasing parents and corporate sponsors, though the film garnered a somewhat divided critical reception. Much has been made of Schumacher’s aesthetic choices and direction, though the film but has earned a cult following compared to its grandiose sequel, with many calling for the release of an extended version to restore many of the excised scenes that added a darker subtext and scenes to the film.

The Review:
Right from the moment Batman Forever begins, you can tell it’s a very different film to its predecessors; gone is Danny Elfman’s iconic theme, the Gothic, enclosed sets, and the vast majority of the cast, replaced by an admittedly heroic and boisterous (if a bit over-played) score, a vast, near-incomprehensible Gotham City filled with neon, towering skyscrapers, and impractical architecture, a host of new faces, and, of course, a whole load of new toys. First, there’s the new Batsuit; though no longer as armour-plated as the Burton-era suits, this suit seems much more form-fitting and famously included nipples to give it a more anatomically-correct look. Unlike in the previous films, where Keaton was forced to be very stiff and was heavily restricted by this suit, Kilmer (and his stunt and fight double) move much more freely. He’s still not able to move his head, sure, but he’s far more agile and capable in his fight scenes, delivering easily the best live-action Batman fights at that point in time. With a new suit comes new gadgets, a new Batcave, and a new Batmobile, all of which are far more stylised and elaborate than in Burton’s movies and are introduced in a pretty cool “suiting up” scene during the opening credits. However, as much as I defend this movie, I do feel this scene is tarnished a bit by that cringey “I’ll get drive thru” line which, while amusing and I’m sure made McDonald’s happy, is a bit out of place. A simple “Don’t wait up” would have sufficed.

Kilmer was a pretty decent, physically imposing Batman and haunted Bruce Wayne.

I haven’t had much exposure to Val Kilmer in my life but, as much as I love Keaton’s intensity and the dark edge he brought to the role, Kilmer is actually pretty good as Batman. In Batman Returns, we saw that Gotham City was starting to become acclimatised to Batman but, in Forever, he’s very much in the public spotlight as a widely celebrated “superhero”. To clarify, I feel there’s a difference between a superpowered superhero like Clark Kent/Superman and a street level vigilante like Batman or Oliver Queen/Green Arrow. They are, technically, superheroes but I feel they shouldn’t be publically celebrated or acknowledged in-world like a Superman; in these Batman movies, though, Batman is pretty much the only masked crimefighter out there and, here, we see that he openly works with Commissioner Jim Gordon (Hingle) and appears in public, when necessary. Like Keaton, Kilmer assumes a deeper, gravelly “Bat Voice” for the role that is somewhere between a growl and a whisper. He tries to emulate Keaton’s intense glare but, where he fails in that regard, he succeeds in his imposing physical stature, appearing far more physically fit for the role than the slighter, shorter Keaton. Kilmer’s Batman is also much chattier than his predecessor, sporting a dry wit and a pragmatic drollness that would be amusing if not for the film’s excessive, over-the-top and cartoonish humour elsewhere. Kilmer is also pretty decent as Bruce Wayne; he doesn’t betray much emotion but he’s both awkward and charming when interacting with Doctor Chase Meridian (Kidman), arranges for full benefits for Fred Stickley (Ed Begley Jr) and his family after his apparent suicide, and is very patient with the fanatical Nygma when they first meet.

Carrey channels Gorshin’s spirit for his zany turn as the Riddler.

Speaking of Nygma, if you’re not a fan of Jim Carrey than a) What’s wrong with you? and b) This really isn’t the film for you. This was peak Carrey, with the actor riding a wave of well-received comedies, and he really gives it his all here, stealing every scene he’s in with a madcap, zany performance that is part Frank Gorshin and part classic Carrey. As Nygma, Carrey is a hyperactive and overly-enthusiastic employee who is completely obsessed with Bruce Wayne. Carrey brings a natural manic energy to the role, hogging the spotlight and stealing every scene he’s in with his rubber-faced antics and you really get that this guy is a fanatical individual who is infatuated with Bruce Wayne and desperate to showcase his mind-manipulating invention. This proves to be his downfall, however, as Bruce cannot in good conscience approve Nygma’s brain-altering invention, which crushes Nygma’s spirit and turns his heroic worship of Bruce into a sadistic mania. Nygma takes to sending Bruce threatening riddles (though Bruce is able to solve each one almost immediately, he spends the majority of the film completely stumped as to who sent them and what they really mean) but doesn’t descend into full-blown supervillain territory until seeing Two-Face in action. As the Riddler, Nygma is a completely unhinged maniac, teaming up with Two-Face to put his 3D “Box” in every house in the city to increase his intelligence and wealth. Amusingly, as Nygma transforms into a successful businessman and bachelor, he begins to borrow Bruce’s look and mannerisms but becomes increasingly unhinged as the Riddler, eventually setting himself up on a ridiculously elaborate island and freely partaking of the knowledge of all those connect to his Box.

For a guy who “couldn’t sanction” Carrey’s buffoonery, Jones sure does ham it up!

While the Riddler gets much of the film’s focus, Two-Face’s tragic origins and complex relationship with Bruce and Batman is almost completely glossed over; we’re introduced to Two-Face (annoyingly and constantly referred to as “Harvey Two-Face” for no discernable reason) after he’s already suffered his horrific scarring (here rendered in a far less disturbing manner, with a ridiculous straight line literally splitting Harvey’s face in two) and there’s only ever the briefest hint towards the character’s nuance and fall from grace. Instead, we’re left with a frenzied clown, a character far removed from the dark, tragic supervillain of the source material and more akin to the Joker, for lack of a better comparison. Ruled by his obsession with duality, his double-headed coin (which he is perfectly happy to flip over and over again until he gets the result he wants), and killing Batman (since he blames Batman for his condition), Two-Face is a ludicrous, flamboyant carton of a villain who would make Cesar Romero blush. I can only assume that it was Schumacher’s decision to make Two-Face this overexcited buffoon since Tommy Lee Jones, apparently, detested Carrey’s ostentatious antics and yet seems to be going out of his way to try and match Carrey’s far more amusing and far less grating physical humour.

Dick grows from an angry bad boy with an attitude to a selfless costumed hero.

Two-Face’s inclusion, though, allows Batman Forever to do something I will forever hold it in high regard for and that is introducing Dick Grayson/Robin. As a kid, I grew up watching the sixties Batman TV show and reading a number of different Batman comics, many of which included Robin in various forms and I remember being super excited about Robin’s inclusion here. In a fantastic example of adaptation, Robin is a combination of Dick (name/origin), Jason Todd (bad boy attitude), and Tim Drake (costume); garbed in motorcycle gear, with a piercing in his ear, he’s clearly an angst-ridden rogue who has no time for the luxury of Bruce’s lifestyle and wishes only to avenge the death of his family. Even better, the film does a great job of retelling Batman’s origin through the parallel of the deaths of Grayson’s family, which triggers Bruce’s flashbacks of his own parents’ deaths and delivers a haunting scene where, in relating the parallels between the two events to Alfred Pennyworth (Gough), Bruce slips on his wording and mutters “I killed them”, providing a glimpse into the survivor’s guilt and responsibility he feels. Bruce sympathises with Dick and takes him in; though he is angry and hungry for revenge, Dick is convinced to stay through a combination of Bruce appealing to Dick’s love for motorcycles and Alfred guilt-tripping the troubled acrobat with hospitality. Alfred plays quite the sly role this time around, offering Dick understanding and comfort but also subtly influencing his discovery of the Batcave and transformation into his own masked persona. Dick’s first instinct, though, is obviously to steal the Batmobile and take it on a joy ride; after taking his anger and pain out on some colourful street thugs, Dick directs these same emotions towards Batman when he arrives to confront him, blaming him for his family’s murder but, having vented his emotions, becomes insistent on Bruce training him to be his partner to give him the means to bring Two-Face to justice. Bruce is angered at the very idea and discourages him at every turn, not wishing Dick to go down the same path as he, much less commit murder.

Chase is the horniest psychologist you’ll ever meet. It’s fantastic!

Finally, there’s Chase Meridian; Kidman is absolutely gorgeous, of course, but man is her character one horny bitch! Chase is immediately fascinated, sexually and psychological, by Batman; she, like pretty much all of the public, isn’t deterred by Batman’s appearance and is, instead, in awe of his presence and attracted to his mystery and physique and even goes so far as to use the Bat-Signal as a “beeper” to tell him things about Two-Face that he already knows and are painfully obvious and to explicitly voice her interest in Batman in her attempt to seduce him right there on the rooftop! She is overwhelmed by the sexual magnetism and allure of Batman as the “wrong kind of man” and the mystery about what drives him to do what he does but is just a enamoured by Bruce, seeing him as something of an enigma who is haunted and hiding more than he lets on. It’s not the same as her attraction to Batman, which is very primal and sexual, but it eventually grows into the more “grown up” choice on her part and she is clearly elated to find that the two are one and the same.

The Nitty-Gritty:
Batman Forever is a loud, bombastic action film; essentially, it’s a live-action cartoon, with every set and action sequence having a garish, over-the-top presentation. The film starts off, as Two-Face says, with a bang; the sequence of Batman hanging from Two-Face’s helicopter looks pretty shit but I can appreciate the blending of practical stunts, early-CGI, miniature sets, and the age of the film, to let it go and the entire set piece of Batman’s chase after him is explosive and frantic and really helps open the film with a huge amount of energy, albeit energy that screams “live-action cartoon featuring a lauded superhero” rather than a dark, broody piece about an urban vigilante. Also, people think that Schumacher’s Batman films were all light-hearted and campy and, yes, they are but while Batman isn’t as vicious or brutal as before and is much more of a “superhero” than a brooding vigilante, he still directly and indirectly causes a lot of death and destruction, including the death of Two-Face (something he specifically ordered Dick not to pursue).

There’s maybe a little too much bombastic slapstick and cartoony elements, to be sure.

Easily the star of the show, for me, is Jim Carrey as the Riddler. While I think Batman Forever would have benefitted all the more if Nygma had been the only elaborate comedic element in a film full of straight men, I am a massive fan of Carrey and his work in the nineties and the way he hogs every scene is just fabulous to me. I just love his many garish costumes, his elaborate movements, the way he emulates Bruce Wayne, and how he switches between manic energy and a sinister glee on a dime. Ultimately, neither Riddler or Two-Face are much of a physical threat to Batman and, far from the master of puzzles and conundrums of his comic counterpart, Riddler opts to force batman into making the now-cliché “choice” between the love of Bruce’s life and his crimefighting partner. Having faced his demons throughout the film and been reminded of why he became Batman, Bruce chooses to save both, reducing Nygma to a gibbering, crazed wreck in the process and finally putting to rest the demons that have haunted him all his life. Of course, it’s naïve to pretend like Batman Forever is perfect; it’s mindless entertainment for kids, to be sure, but is maybe a little too loud, bombastic, and slapstick for parents or hardcore Batman fans. There are a few narrative inconsistencies as well, such as Bruce inexplicably deciding to retire Batman and settle down with Chase. I never quite got the logic here; Bruce seems to think Batman is no longer needed but it also seems like he’s willing to give up his crusade to be with Chase since he can’t justify being Batman anymore (despite the fact that, as Dick says, “there’s monsters out there” like Two-Face and the Riddler). Then there’s the ridiculously cartoony security guard from the start of the film, the garish new Batmobile, the way in which the Batcave opens up and comes alive every time there’s an intruder, the ludicrous moment where the Batmobile drives up a wall to safety (how the hell did it get down from there?), the sheer ineffectiveness of Gotham’s police department (seriously, the cops are completely useless and call for Batman at the first sign of any trouble), and the overly cartoony sound effects that punctuate a lot of Carrey’s scenes and the fight sequences.

Two-Face is easily the weakest and most annoying part of the film.

For me, though, the weakest part of Batman Forever is clearly Two-Face; he’s just a grating, annoying villain who goes way, way over the top at every moment. He’s also an absolute idiot; he holds the circus hostage under the belief that Batman is present or that someone there knows who Batman is, which is a bit of a reach, constantly goes against his modus operandi, and ends up being tricked to his death in the simplest way possible. The only positive to his inclusion is that it fuels Dick’s need for vengeance; Bruce lectures Dick about how killing Two-Face won’t take away his pain, how he’ll end up becoming an obsessed vigilante taking his anger and pain out on countless others if he kills Two-Face, but Dick’s only wish is to kill Two-Face for what he did and it’s only in sparing Two-Face’s life that he (Dick) comes to evolve into the same selfless hero we saw him to be when he risked his life to save the circus from Two-Face’s bomb.

It’s fantastic to see Robin done in live-action and used as a thematic parallel to Batman.

Make no mistake about it, this is a great film if you’re a fan of Robin and Stephen Amell O’Donnell perfectly encapsulates the “mad, broody youth” vibe they were going for. After Dick forces himself into Batman’s business, Bruce is livid at Dick’s recklessness and continually attempts to talk him out of pursing the same life as him. In the end, though, with Chase in need of rescue and his motivations resolved (Bruce remembered that he promised his parents that no one would ever have to suffer like he would, that he would take his revenge upon all criminals to safeguard others no matter the cost), Batman throws on his “sonar” suit and is in the middle of choosing between his Batwing and Batboat (all new toys for kids to buy/pine for) when Dick, now Robin, arrives and the two reconcile. Personally, I love this moment; the two basically acknowledge that each other were right, that each of them has their own path, and that they have converged into one destiny. Robin even admits that he can’t promise he won’t kill Harvey but Batman accepts this, and that Dick must walk his own path, and they solidify their partnership with a firm handshake…only to immediately be separated upon reaching Nygma’s island. Regardless, I’m continually entertaining by film’s smart use of Robin as a thematic parallel to Bruce. I’d love to see this concept revisited in a new Batman movie one day; skip retelling Batman’s origin again and, instead, have a darker, more jaded Batman begin to stray from his path but be brought back from the brink by adopting Dick, whose origin can be used as a direct analogy for Batman’s. Sadly, it doesn’t look like we’ll be seeing that in a film any time soon but Titans (2018 to present) has done a really good job, in my opinion, of exploring similar ground with an even better version of Dick/Robin and taking that to its logical conclusion (the debut of Nightwing).

The Summary:
Batman Forever is a hugely entertaining kids’ movie which has a lot of potential that is sadly squandered by its execution. A lot of time is spent exploring Bruce’s psyche and motivations; not as much as was originally intended but far more than we had seen in live-action up until that point. The film suggests that Bruce has become so lost, so blinded by his pain, anger, and guilt, that he’s forgotten why he became Batman in the first place (to protect the innocent) and is, instead, lashing out at criminals out of habit. Dick is expertly used as a parallel to Bruce’s life and background; his anger is raw and in need of guidance. Bruce was guided by the bat he encountered as a child but Dick simply wants to kill Two-Face and has no clear focus beyond that. Bruce knows first-hand that killing the man responsible won’t bring Dick the peace or closure he so desperately seeks and that he’ll end up exactly like him, “Running out into the night to find another face. And another. And another!” It’s not massively dwelled upon but the film suggests that Bruce can use his experience to guide Dick in such a way to focus his rage and pain in a more productive way, one that sees him walk the same path but not so tainted by darkness and heartache. This turns out to be the case as Dick refuses to kill Two-Face, turning away from becoming a mindless killer and towards being an agent of true justice, which is something Bruce also learns to do through his relationship with Dick and Chase, which finally sets him towards a more productive path. Sadly, though, the film’s themes and explorations are hampered somewhat by the madcap nature of Schumacher’s world; thanks to several subtle references, this is clearly the same world as Burton’s Batman movies but much bigger, grander, and more…operatic. Gotham City is awash in garish neon and giant, impractical statues and skyscrapers and the film has a manic energy thanks not only to Carrey’s scene-stealing antics but the infantile characterisation of Two-Face and his goons. Cartoonish sound effects permeate many of the film’s action sequences and I can’t help but think the film would have been more appealing if everyone played it entirely straight except for Carrey. Clearly, Schumacher is leaning heavily towards the sixties television show, which is fine since that is a classic in every way and a guilty pleasure, but what made that show work was that everyone played it straight, which only served to make the ridiculousness more entertaining. Here, it’s ridiculous for the sake of being ridiculous so when there are moments or genuine humour (mainly from Batman and Alfred and Carrey’s less zany moments) they get drowned out by the overabundance of cartoonyness and Tommy Lee Jones’ grating performance as Two-Face.

My Rating:

Rating: 4 out of 5.

Great Stuff

What are your thoughts on Batman Forever? Where does it rank against the other Batman movies of its era, or even now? What did you think of the cast, particularly Kilmer, Carrey, and Jones? Were you excited to see Robin brought into the franchise or do you prefer Batman to “work alone”? What did you think of Schumacher’s version of Batman, his world, and his rogues? Would you like to see an extended cut of the film or do you think it’s best left as it is? Whatever your thoughts, go ahead and drop a comment below and be sure to come back next Tuesday for my review of the much-maligned sequel!