The Batman

“They think I am hiding in the shadows, but I am the shadows.” The inexperienced Bruce Wayne is eaten by the demon of revenge, he will have to come to an agreement to become something more, the community of followers of the Enigmist that reflects the political situation of the United States, the Penguin of Colin Farrell and much more, are the movie's highest peaks. As evidence of this, Reeves’ film as Nolan’s trilogy portrays a masked vigilante in a universe where realism reigns supreme, where superpowers are intuition, deductive ability, brute force, the need to make revenge a reason to live and where criminals seem to come out of a gangster-movie by Scorsese, with only a grotesque drift into Penguin by an unrecognizable Colin Farrell who seems to be a mix between De Niro’s Al Capone in The untouchables and the grotesque gangster of the Dick Tracy cinematic. The Enigmist of Dano is an example of how the real acting emerges powerful and dark even behind a mask, in this case Dano makes voice, gaze and posture intimidating means just like the Batman of Robert Pattinson, both psychological profiles during the unraveling of the plot will gradually be defined and often travel in parallel, creating a disturbing dichotomy vigilant / criminal similar to the one that the Joker imputes to Batman during the famous scene of the interrogation in ’ The Dark Knight ’ of Nolan. A dichotomy that in this case Reeves reverses, if the Bruce Wayne by Christian Bale at the end of the film becomes a criminal hunted because “he is the hero Gotham deserves, but not the one it needs...”, the Batman by Robert Pattinson faces a reverse path when he realizes that the city needs a hero and not a brutal vigilante, which from scarecrow for criminals ends up inexorably terrorizing even those he has to protect, and above all becomes a bad teacher for those who end up imitating his actions, revenge and justice do it yourself for a distorted personal use. In the end he becomes more than just "Vengeance", he becomes a hero.