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    Movie Review

    Robert Pattinson takes on Gotham in The Batman's dark, 3-hour caped crusade

    Alex Bentley
    Mar 2, 2022 | 4:00 pm
    Zoë Kravitz and Robert Pattinson in The Batman.play icon
    Zoë Kravitz and Robert Pattinson in The Batman.
    Photo by Jonathan Olley ™ & © DC Comics

    The number of actors who have played Batman in a live action film since Tim Burton’s original 1989 version brings to mind the Hamilton lyric, “Are they going to keep on replacing whoever’s in charge?” The 1990s films had the most turnover, with Michael Keaton, Val Kilmer, and George Clooney each trying on the Batsuit, while the 21st century has brought three movies from Christian Bale, two from Ben Affleck, and now Robert Pattinson in The Batman. As if that’s not confusing enough, the forthcoming The Flash will have both Keaton and Affleck reprising their roles.

    The latest version, directed by Matt Reeves and written by Reeves and Peter Craig, finds Bruce Wayne in full-on detective mode. High-ranking figures in Gotham are being killed, with a mysterious figure called the Riddler (Paul Dano) leaving notes for “The Batman” at every scene. Detective James Gordon (Jeffrey Wright), who has a working relationship with Batman, allows him into the various crime scenes to help figure out who’s responsible and what will happen next.

    The clues found by Wayne/Batman, with help from his butler Alfred Pennyworth (Andy Serkis), lead him to the criminal underbelly of Gotham, where he encounters people like Oswald Cobblepot/The Penguin (Colin Farrell), Carmine Falcone (John Turturro), and Selina Kyle (Zoë Kravitz). Selina, who has a thing for cats, is on her own personal mission, one that alternately coincides and diverges from that of the Batman.

    The film maintains the dark mood of the 21st century Batman movies, with it seemingly raining buckets through the whole thing. But instead of the enigmatic nature of the Nolan trilogy or brute force of the Zack Snyder movies, this one treats its main character in classic film noir fashion. Batman has often been a loner, but if possible he’s even more so here, silently suffering while taking on the city’s bad guys.

    The story plays out as a non-stop murder mystery, with the Riddler’s ultimate goal in question for most of the film. While not a full-on action movie, there are plenty of thrilling set pieces dropped in during its three-hour running time. Reeves, who directed the last two Planet of the Apes movies, has a knack for delivering the action goods. Batman engages in multiple close-quarter fights without the scenes becoming repetitive, a credit to both the filmmaking and Pattinson’s acting.

    While the film remains engaging throughout its long running time, it’s difficult to fight the feeling that the same story could have been told with an hour or so shaved off. It’s almost like Reeves decided that he needed to shove all of his ideas into one Batman movie in case he never got to make another one. Most of it works, but making it through the entire film without at least one bathroom break should be considered a serious accomplishment, especially with all of the rain falling down.

    Pattinson, who’s been taking on more serious roles since his time as Edward in the Twilight films, is impressive in his first foray as the Caped Crusader. Forgoing a deeper voice while masked, he instead embodies the privileged-yet-tortured life that Bruce Wayne has lived. Farrell, Dano, and Kravitz are all great as Penguin, Riddler, and Catwoman, respectively, mostly because they all treat their roles as actual characters instead of caricatures. Farrell, who truly is unrecognizable, might be the best of the bunch, using a thick accent and facial prosthetics to transform himself in fantastic ways.

    Do we “need” another Batman movie after getting so many other iterations in the past 30 years? Probably not, but that doesn’t take away from the fact that The Batman works on many levels, from the actors to the action to its detective storyline. We’ll just have to wait and see if this version of Batman sticks around for a while.

    ---

    The Batman opens in theaters on March 3.

    Jeffrey Wright and Robert Pattinson in The Batman.

    Jeffrey Wright and Robert Pattinson in The Batman
    Photo by Jonathan Olley/™ & © DC Comics
    Jeffrey Wright and Robert Pattinson in The Batman.
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    Movie Review

    Amanda Seyfried and Sydney Sweeney go off in trashy film The Housemaid

    Alex Bentley
    Dec 19, 2025 | 12:24 pm
    Amanda Seyfried and Sydney Sweeney in The Housemaid
    Photo courtesy of Lionsgate
    Amanda Seyfried and Sydney Sweeney in The Housemaid.

    Both Amanda Seyfried (the upcoming The Testament of Ann Lee) and Sydney Sweeney (Christy) are starring in movies with Oscar ambitions this year. By sheer coincidence, the two actors are also co-starring in The Housemaid, a thriller coming out within weeks of their more ambitious works, one that is likely to be seen by many more people than those prestige plays.

    Sweeney is given top billing as Millie, a down-on-her-luck ex-convict looking to land any type of job so as not to break her parole. She finds a too-good-to-be-true lifeboat with Nina (Seyfried), who hires her to be a housemaid for her large house on Long Island, where she lives with her husband, Andrew (Brandon Sklenar), and daughter, Cecilia (Indiana Elle).

    After a warm interview, Nina almost immediately becomes highly erratic, whipping back-and-forth between happy-go-lucky and rageful. It seems clear that Nina is suffering from mental health issues, as she’ll often accuse Millie of misplacing or stealing items that she didn’t take. Andrew, apparently used to Nina’s tirades, tries to protect Millie from the worst, something that grows increasingly difficult as Nina ups the ante.

    Directed by Paul Feig (A Simple Favor) and adapted by Rebecca Sonnenshine from the bestselling book by Freida McFadden, the film is likely the trashiest mainstream movie to come out in 2025. The first half of the movie relies not on story but on moments as Nina embodies the word “hysterical” to an unbelievable extent. The resigned acceptance of the abuse by Millie, as well as the saintly patience of Andrew, make almost every scene laughable, as nobody seems to be acting anywhere close to how a person would normally react to such extreme situations.

    The scenes and the performance of Seyfried are so over-the-top, in fact, that it’s clear that the filmmakers are in on the joke. It’s next to impossible not to have a little bit of fun while watching the actors react to outrageous incidents as if nothing is out of the ordinary. The worse Nina acts, the more Millie and Andrew retreat into their chosen roles, and the funnier the film becomes.

    Fans of the book will know that the story changes course, eventually turning into a more stereotypical thriller that also has some relatively gnarly visuals to offer. But the trashiness continues, with Sweeney’s, um, assets repeatedly on display in both clothed and unclothed ways. The sex appeal of the R-rated movie makes it an outlier, as recent studio films have shied away from asking their big stars to disrobe completely.

    Both Seyfried and Sweeney are far from their Oscar hopeful roles here. Seyfried is given free rein to act as brazenly as she pleases, and she takes full advantage of that ability. Sweeney seems to have been told to be much more reserved, and unfortunately that results in too many wooden line readings. Sklenar continues his breakout streak (It Ends with Us, Drop) with a role that allows him to show more range than either Seyfried or Sweeney.

    The Housemaid is an unusual type of movie to be released at a time of year when most films are either those aiming for awards or more family-friendly fare. Despite its many flaws, it’s still an enjoyable watch that features a variety of crazy scenarios not typically seen in movies nowadays.

    ---

    The Housemaid is now playing in theaters.

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