Netflix has released this first trailer for BALLAD OF A SMALL PLAYER.
Lord Doyle (Colin Farrell) is laying low in Macau – spending his days and nights on the casino floors, drinking heavily and gambling what little money he has left. Struggling to keep up with his fast-rising debts, he is offered a lifeline by the mysterious Dao Ming (Fala Chen), a casino employee with secrets of her own.
However, in hot pursuit is Cynthia Blithe (Tilda Swinton) – a private investigator ready to confront Doyle with what he is running from. As Doyle tries to climb to salvation, the confines of reality start to close in.
BALLAD OF A SMALL PLAYER is directed by Edward Berger (All Quiet On The Western Front, Conclave) and stars Colin Farrell, Fala Chen, Deanie Ip, Alex Jennings and Tilda Swinton.
Written by Rowan Joffe (28 Weeks Later, The American) and based on the novel The Ballad of a Small Player by Lawrence Osborne, Berger reunites two of his Oscar-winning collaborators from All Quiet on the Western Front, director of photography James Friend and composer Volker Bertelmann. Joining Berger on Ballad of a Small Player are producers Mike Goodridge (Triangle of Sadness) and Matthew James Wilkinson (Yesterday), production designer Jonathan Houlding (Poor Things, The Martian), makeup & hair designer Heike Merker (All Quiet on the Western Front, Cloud Atlas), costume designer Lisy Christl (All Quiet on the Western Front, Conclave), and editor Nick Emerson (Conclave, Lady Macbeth).
In Select UK & IRELAND cinemas OCTOBER 17; in U.S. theaters October 15 and on NETFLIX October 29.
Here’s a first look at director Kogonada’s (COLUMBUS, AFTER YANG) upcoming film A BIG BOLD BEAUTIFUL JOURNEY.
What if you could open a doorway and walk through it to re-live a defining moment from your past? Sarah (Margot Robbie) and David (Colin Farrell) are single strangers who meet at a mutual friend’s wedding and soon, through a surprising twist of fate, find themselves on A Big Bold Beautiful Journey – a funny, fantastical, sweeping adventure together where they get to re-live important moments from their respective pasts, illuminating how they got to where they are in the present… and possibly getting a chance to alter their futures.
Also featuring Kevin Kline and Phoebe Waller-Bridge, A BIG BOLD BEAUTIFUL JOURNEY opens in movie theaters September 19, 2025.
Max has released a new teaser for THE PENGUIN, from Warner Bros. Television and DC Studios, debuting this fall. Starring Colin Farrell as Oz Cobb (aka “The Penguin”), the eight-episode DC Studios drama series continues The Batman epic crime saga that filmmaker Matt Reeves began with Warner Bros. Pictures’ global blockbuster “The Batman,” and centers on the character played by Farrell in the film.
The cast includes Colin Farrell, Cristin Milioti, Rhenzy Feliz, Michael Kelly, Shohreh Aghdashloo, Deirdre O’Connell, Clancy Brown, and Michael Zegen.
The series is executive produced by Matt Reeves, Dylan Clark, Colin Farrell, Lauren LeFranc, who writes and serves as showrunner, Craig Zobel, who directs the first three episodes, and Bill Carraro. Based on characters created for DC by Bob Kane with Bill Finger, THE PENGUIN is produced by Reeves’ 6th & Idaho Productions and Dylan Clark Productions in association with Warner Bros. Television, where Reeves and 6th & Idaho are under an overall deal. Daniel Pipski also serves as executive producer.
In her review, Cate Marquis said THE BANSHEES OF INISHERIN “is an impressive piece of cinema on all levels.”
From acclaimed filmmaker Martin McDonagh (In Bruges, Three Billboards Outside Ebbing, Missouri) comes the masterful tragicomedy The Banshees of Inisherin. This immersive tale of friendship and folly has delighted cinemagoers and been celebrated by critics as “simply perfect” (Kevin Maher, The Times) and “sweepingly cinematic” (David Rooney, The Hollywood Reporter). The film is Certified-Fresh on Rotten Tomatoes™ and arrives on Digital December 13 and Blu-ray and DVD on December 20, with never-before-seen bonus content featuring actors Colin Farrell, Brendan Gleeson and director-writer Martin McDonagh.
The film made its World Premiere in September to critical acclaim at the Venice Film Festival, where it won the Best Screenplay Award for McDonagh and the Volpi Cup for Best Actor for Farrell. It went on to release theatrically in October, earning the highest opening per screen average of the fall.
From director-writer Martin McDonagh (Three Billboards Outside Ebbing, Missouri) comes a unique film starring Colin Farrell and Brendan Gleeson. Although Pádraic (Farrell) and Colm (Gleeson) have been lifelong friends, they find themselves at an impasse when one abruptly ends their relationship, bringing alarming consequences for both of them.
Bonus Features*
Featurette
Creating The Banshees of Inisherin – Go into the inimitable mind of director-writer Martin McDonagh as he delves into The Banshees of Inisherin, from story inception and reunion of its gifted actors, to searching the islands of Ireland for the perfect, evocative locations.
Deleted Scenes
Chasing Colm
Colm Can’t Compose
Parents’ Grave and Peadar
Siobhan Crying Too Loud
Stoic Equals Boring
*Bonus features vary by product and retailer
THE BANSHEES OF INISHERIN will be released on Blu-ray and DVD on December 20, 2022 and WAMG is giving away to three of our lucky readers a BLU-RAY copy.
EMAIL michelle@wearemoviegeeks.com to enter.
YOU MUST BE A US RESIDENT. PRIZE WILL ONLY BE SHIPPED TO US ADDRESSES. NO P.O. BOXES. NO DUPLICATE ADDRESSES.
WINNER WILL BE CHOSEN FROM ALL QUALIFYING ENTRIES. NO PURCHASE NECESSARY
Music by
Carter Burwell
Product Specifications
Street Date
Digital: December 13, 2022
Physical: December 20, 2022
Product SKUs
Digital: UHD, HD, SD
Physical:Blu-ray Combo Pack (Blu-ray + Digital Code) & DVD
Feature Run Time
114 minutes
Rating
U.S. Rated R
**For language throughout, some violent content and brief graphic nudity
Aspect Ratio
Digital: 2.39:1
Physical: 2.39:1
U.S. Audio
Blu-ray: English 5.1 DTS-HDMA, English AD 2.0 Dolby Digital
DVD: English 5.1 Dolby, English AD 2.0 Dolby
Digital: English Dolby Atmos (UHD only, some platforms), English 5.1 & 2.0 Dolby Digital, English Descriptive Audio 2.0 Dolby Digital (some platforms), Spanish 5.1 & 2.0 Dolby Digital, French 5.1 & 2.0 Dolby Digital
U.S. Subtitles
Blu-ray: English SDH, Spanish, French
DVD: English SDH, Spanish, French
Digital: English SDH, French, Spanish (some platforms)
The brilliant THE BANSHEES OF INISHERIN reunites IN BRUGES co-stars Colin Farrell and Brendan Gleeson with Martin McDonagh for the writer/playwright/director’s dark comedy about a long friendship coming apart on a tiny Irish island in shocking fashion. But in this film, the comedy is darker and with a looming threat of violence, putting it more in the vein of one of playwright McDonagh’s plays like “The Hangmen” or “The Pillowman.” If you have been lucky enough to see any of his plays on stage, you know his signature combination of dark humor with undercurrents of violence, packed with biting witty dialog and thought-provoking subject matter, usually with a distinctly Irish accent.
Like a lot of the writer/playwright/director’s work, THE BANSHEES OF INISHERIN is both darkly funny, tragic, a bit violent and more than a bit mad, yet with a deep humanity beneath it all. The film is suffused with stunning photography of the natural world and set in 1923 with the Irish Civil War in the background on the distant mainland. It also is a film bursting with remarkable acting performances, particularly from Colin Farrell. THE BANSHEES OF INISHERIN is a reminder of just how very good an actor Colin Farrell truly is.
On the fictional Irish island of Inisherin, a place filled with natural beauty off the western coast of Ireland, a pair of long-time friends – Padraic Suilleabhain (Colin Farrell), a young farmer everyone calls “nice” and Colm Doherty, an older fiddle player, composer and artistic soul – have the habit of going to the island’s only pub every day at 2 p.m., for pints and conversation. One day, Padraic calls on Colm promptly at 2 p.m. as usual for their walk to the pub but Colm refuses to answer the door, or even respond when Padraic speaks to him through the window. Puzzled, Padraic tells his friend he’ll meet him at the pub and heads over. At the pub, Padraic shares his friend’s strange behavior with the pub owner Jonjo (Pat Shortt). “Are you rowing?” the publican asks. “I didn’t think we were rowing,” Padraic replies. Padraic leaves the pub briefly, and returns to find Colm there. But Colm avoids him, even telling him not to sit by him.
“Are we rowing? I didn’t think we were rowing,” the confused Padraic says repeatedly, wondering if they had quarreled in some argument he had forgotten, turning the question over in his head, over and over. Everyone seems to ask the same thing, and Padraic always replies “I didn’t think we were rowing.” It sets up a comic riff but while the effect is humorous, Padraic is becoming increasingly upset by his friend’s mysterious behavior. Finally confronting Colm, Colm tells him that he no longer wants to be friends and forbids the younger man to speak to him. Eventually, it comes out that the older Colm, pondering that his life is running out and contemplating his legacy, decided he needs to spend more of it on his music, composition and teaching younger musicians, and not wasting time with Padraic.
Stunned, Padraic can’t quite wrap his head around this and keeps thinking there is something he can do to restore their friendship, until Colm makes a shocking threat of violence if Padraic doesn’t leave him alone, The threat is so absurd that all the other characters wonder aloud if it is real. However, those who familiar with McDonagh’s stage work know that such mentions of violence are rarely idle.
This is a story of a break-up, of a friendship rather than a romance, but a break-up nonetheless. These two are not “frenemies” but true friends – or were until one day when one of them decides they are not. That leaves the other one having a hard time as he struggles to accept, even comprehend, a decision he played no role in, and deciding what he, the friend left behind, must do.
McDonagh doesn’t take sides here, and individuals might sympathize more with one man or the other, but the film spends more time with Colin Farrell’s Padraic, as he is the one who had to come to grips with what to do next. On the surface, Colm and Padraic don’t seem to have much in common, although they have been friends a long time.
Padraic is a young farmer, raising cows and selling the milk, and someone known for his easy-going, likable manner and for being “nice.” The older Colm is a fiddle player and composer, a more complicated man with other artistic interests, someone given to deep thought and reading with an interest in history and literature. Colm lives alone, Padraic with his sister Siobhan (Kerry Condon), the other island’s devoted reader, who dotes on and cares for her younger brother. Colm has a border collie as a pet, Padraic has a miniature donkey. The animals play a role in the unexpected events that unfold.
It’s an island, and eventually it seems everyone is involved in the split in some way, or at least those who come in regular contact with either Colm or Padraic.
The sharply satiric dialog and story’s comedic beats always delight but the acting is so sparkling, so deep, that is a constant joy throughout. Each actor gets the very most out of every scene, whether alone or ensemble. Colin Farrell expresses volumes with the twitch of a bushy eyebrow or the shift of his posture, continually breaking our hearts with his pain and frustrating us with his mistakes. Brendan Gleeson is outstanding as always, conveying his different kind of pain, a man brooding over his legacy and finding time fleeting, embroiled in a distracting situation he somehow didn’t anticipate.
However praise must go to the actors in supporting roles as well. Barry Keoghan continues to turn in striking character performances, here playing a young man, Dominic Kearney, who is both an irritating pest and a heartbreaking portrait of loneliness. Kerry Condon is wonderful as Padraic’s sister Siobhan, often the voice of reason cutting through the island’s inward looking nonsense, as well as warm sympathetic ear for her confused, well-meaning brother. Other little, more comic roles break the tension, notably Pat Shortt as the publican Jonjo and David Pearse as the priest, who has a sidesplitting exchange with Brendan Gleeson in the confessional. Gary Lydon adds a chilling note as Peadar Kearney, the island’s brutal, cold-hearted local cop and Dominic’s abusive single father, as does Sheila Flitton as Mrs. McCormick, a creeping, creepy older woman in black whose smile and mysterious mutterings might evoke thoughts of Macbeth’s “weird sisters.”
The film opens with Director of Photography Ben Davis’ gorgeous shots of the natural world, showing the breath-taking beauty of the place and often featuring animals, wild and domesticated, in that peaceful-looking landscape. The film was shot on Inishmore and Achill Island on the west coast of Ireland, although the island where the story takes place is fictional. A spot-on perfect musical score by Carter Burwell completes the picture. We get a sense that these few people on the island are living in a place of beauty and magic, but gradually we realize that they are so consumed by their own petty personal troubles, they hardly see it.
The story is set in spring of 1923, and the Irish Civil War is raging. But the war is unfolding on the mainland, and on the island, they only hear the sounds of the guns and distant explosions. The islanders are aware of it but they are apart from it, although it might linger at the back of our minds.
There is something particularly resonant about setting this tale in Ireland in 1923, on an isolated island, during the Irish Civil Wars. The civil war creates its own madness, the closed community of the island (in pre-mass media 1923) creates its own pressure cooker, and whatever existential crisis is troubling Colm adds to the simmering pot.
As wars often do, the conflict between Colm and Padraic starts over something small but hurtful, that then escalates. Their “war” is a reminder that wars often start over something small but that absolutes, all-or-nothing decisions or ultimatums, have consequences. In this personal conflict, it is a reminder that putting ones’ work above people or doing something for selfishness reasons can have consequences too, or even lead to unintended results. The director seems to be questioning whether absolutes are the best human choice, if compromise or setting boundaries might work better, by illustrating how things get out of hand, even little things, until conflict, or even war, is inescapable.
And the banshees? We never see or hear supernatural spirits wailing in the night, although they do come up in conversation at one point. But it is hard to say there are not mad banshees howling here.
There is a lot of food for thought to mull over in this meaty film, although some viewers may be so shocked by the film’s end that those thoughts may have to wait a bit, as is often the case with McDonagh’s plays. But there are things here about humanity that are worth revisiting. THE BANSHEES OF INISHERIN is a brilliantly acted and directed film that indirectly and subtly draws larger human lessons by following the break-up of a friendship. It is an impressive piece of cinema on all levels – visually, performance, acting, story-telling – with the addition of offering deeply-considered thoughts on other human conflicts, which is as worthwhile a topic as one can find at this moment in history.
THE BANSHEES OF INISHERIN opens Friday, Nov. 4, in theaters.
When a Thai boys soccer team was trapped in a cave by flash flooding in 2018, the world was riveted as divers attempted to locate and rescue the teenage boys and their coach in the flooded cave, ultimately calling in volunteers who specialized in cave diving. Viggo Mortensen and Colin Farrell play two of those cave divers, middle-aged hobbyists who travel from their homes in the U.K. to volunteer to help save the boys and their coach. As the days dragged on, hope faded and it seemed only a miracle could save them. THIRTEEN LIVES dramatizes that 2018 rescue mission, and demonstrates exactly how miraculous it was.
This dramatic story was told previously in the documentary THE RESCUE, and while this dramatization follows the same facts, the visceral, emotional impact of this improbably rescue is even stronger. THIRTEEN LIVES depicts the risky events in a more detailed, powerful fashion, while still sticking to the already dramatic facts, but the drama allows a deeper, more rounded human story of the people involved in this astonishing rescue.
Director Ron Howard generally sticks to the facts in this true-story based drama, with Colin Farrell and Viggo Mortensen starring as John Volanthen and Richard Stanton, a pair of Brits with an unusual hobby: cave diving. John and Richard, who travel from the UK to volunteer their expertise, later joined by other cave divers, including Australian doctor Richard “Harry” Harris (Joel Edgerton) in the effort to find and save the soccer team and their coach.
When the boys are trapped in the cave by early monsoon rains, the Thai government calls in the Thai Navy SEALs. While the SEALs are experts in rescue, their diving skills are honed for the open ocean and the flooded cave, with its murky water, tight passages and rushing current, proved daunting. But it is exactly the experience the cave divers had, the authorities reluctantly allow these amateurs from half a world away to have a go at it.
Bad luck and good luck both play roles in this story. The primary bad luck aspect was the unusual early arrival of the monsoon rains. After their soccer practice, the boys wanted to go a nearby cave , a “tourist” cave that they frequently visited. The cave was considered safe in June, but closed in mid-July when the monsoon rains that usually arrived. A bit of good luck was that their coach went along, even though the boys knew the cave well and planned only a short visit before a birthday party for one of the boys. A sudden and intense downpour filled the cave with water, trapping the team deep within.
A stroke of luck was that the families quickly realized the boys were missing and recognized their bicycles outside the cave entrance. Another bit of luck was that an expert cave diver who lived in the area had mapped the cave extensively, and also was aware of other cave divers who might be able to help.
When this crisis arose, many of us were as unaware of the hobby of cave diving as officials in Thailand were. At first the Thai SEALs and other Thai officials were skeptical about these foreign amateurs and barred them from entering the cave. Eventually they were persuaded to let them have a try to locate the boys and their coach – at their own risk.
The need to find and rescue the boys before the cave entirely fills with water gives the film a ticking clock urgency, and the international mix of rescuers, along with the anxious parents, sets up potential for both conflict and cooperation. Although the documentary previously told this story, this narrative film depicts the risky events – particularly the astonishing final rescue- in a more powerful fashion.
While taking us through the events of the tension-filled rescue, director Ron Howard still gives the actors room to work so they can develop the characters, which deepens the human story aspect of this rescue. Although running almost two and a half hours, the film never feels that long, as the nail-biting tension of events, the dynamics of the characters, and a brisk pace keep us full involved.
The primary focus is on the British cave divers played by Mortensen and Farrell but Joel Edgerton gets his moment, as do the other actors. Mortensen’s Richard Stanton is a flinty, plain-spoken retired firefighter who has a risky hobby but goes about it in a way to reduce risk. Colin Farrell’s John Volanthen is a more easy-going person, an IT expert who finds cave diving a relaxing escape, but who is a family man particularly moved to help save the trapped boys.
The cast is fairly large and details the multiple fronts of efforts to save these boys. While the Thai SEALs and the cave divers battled daunting conditions searching for the boys, other teams pumped water from the flooded cave and volunteers, including a hydrologist, tried to block the sink holes on the mountain above that channeled water into the cave. The film does a good job conveying this multi-pronged effort in a cinematic way, with animated maps illustrating the various points in the long, complex cave, the fourth largest in Thailand, as we see the rescuers navigating the difficult passages, spiked with stalagmites and stalactites, and filled with rushing water. Fine cinematography by … delivers gripping visuals as the story written by Don McPherson and William Nicholson keeps us in its hold.
The result is a tense, suspense-filled drama, with memorable characters crafted by a strong cast, capped by a jaw-dropped rescue, for a truly uplifting film.
THIRTEEN LIVES opens Friday, August 5, in theaters in select cities and streaming on Amazon Prime Video.
Martin McDonagh (Three Billboards Outside Ebbing, Missouri), Brendan Gleeson and Colin Farrell previously worked together in 2008’s IN BRUGES, an excellent black comedy crime film. McDonagh won the BAFTA Award for Best Original Screenplay and was nominated for the Academy Award for Best Original Screenplay.
The three are together again for THE BANSHEES OF INISHERIN.
Set on a remote island off the west coast of Ireland, THE BANSHEES OF INISHERIN follows lifelong friends Pádraic (Colin Farrell) and Colm (Brendan Gleeson), who find themselves at an impasse when Colm unexpectedly puts an end to their friendship. A stunned Pádraic, aided by his sister Siobhán (Kerry Condon) and troubled young islander Dominic (Barry Keoghan), endeavours to repair the relationship, refusing to take no for an answer. But Pádraic’s repeated efforts only strengthen his former friend’s resolve and when Colm delivers a desperate ultimatum, events swiftly escalate, with shocking consequences.
Prime Video has released the trailer for Ron Howard’s upcoming film THIRTEEN LIVES. The film hits select theaters exclusively for one week on July 29, Launching globally on Prime Video on August 5.
The film stars Viggo Mortensen, Colin Farrell, Joel Edgerton, Tom Bateman, Paul Gleeson, Pattrakorn Tungsupakul, Tui Thiraphat Sajakul, James Teeradon Supapunpinyo, Sahajak Boonthanakit, Weir Sukollawat Kanaros.
Thirteen Lives recounts the incredible true story of the tremendous global effort to rescue a Thai soccer team who become trapped in the Tham Luang cave during an unexpected rainstorm. Faced with insurmountable odds, a team of the world’s most skilled and experienced divers – uniquely able to navigate the maze of flooded, narrow cave tunnels – join with Thai forces and more than 10,000 volunteers to attempt a harrowing rescue of the twelve boys and their coach. With impossibly high stakes and the entire world watching, the group embarks on their most challenging dive yet, showcasing the limitlessness of the human spirit in the process.
THIRTEEN LIVES screenplay is from William Nicholson with a story by Don Macpherson and William Nicholson. Nicholson has been nominated twice for an Oscar – GLADIATOR (Best Original Screenplay) and SHADOWLANDS (Best Adapted Screenplay).
Matt Reeves goes noir for THE BATMAN, the latest in a long line of Batman reboots, and this time featuring Robert Pattinson as the Caped Crusader. Reeves, whose previous work includes CLOVERFIELD, DAWN OF THE PLANET OF THE APES and its sequel, gives us a dark world, where it always seems to be raining, where corners are dimly lit and gritty streets are littered. The imagery suggests THE JOKER or even BLADE RUNNER, but this film is not as high-concept as either of those films. While the film noir style is gorgeous and the supporting cast strong, Pattinson’s one-note brooding, a plot with too many villains and not enough focus, and a nearly three-hour running time keep the film from truly soaring.
Still, it is distinctly different from the typical superhero movie, and an aesthetic well suited to Batman, always a darker superhero than most. That is all good for those of us who like film noir and gritty thrillers, although those who want brighter sets and a more typical superhero fare may be less pleased. However, beneath the surface, THE BATMAN is more a typical superhero tale, just in different clothing.
Batman (Robert Pattinson), the crime fighting alter-ego of millionaire Bruce Wayne, is one year in to his career as a secret enforcer of the law, but he is already questioning whether he is making any difference. The crime in Gotham City seems to still be going up and, since he lacks superpowers, he can’t be everywhere at once to stop crime. While he is plagued with doubts about this new life he has taken on as a way to avenge his murdered parents, he is still responding when the Bat signal lights up the sky. This time the crime strikes a personal chord for Batman – a man murdered on Halloween in his own home while his son was out trick-or-treating, only to come home and find the body. While this gruesome crime was taking place, Batman was beating up some baddies in the subway, who had targeted an Asian man, in a little contemporary reference.
While Gordon (the always-excellent Jeffrey Wright), Batman’s police contact and the future Police Commissioner, is unwavering in his support, others on the police force are more hostile to the Batman, regarding him as an intruder rather than a help. But this murder scene has some quirky elements, among which is a greeting card addressed to the Batman. Inside are hints in the form of a riddle, a sure sign of Batman’s long-time nemesis, the Riddler (Paul Dano). Except, at this point, he isn’t a long time adversary, because Bruce Wayne is still fairly new at this Batman stuff.
However, Reeves doesn’t stop with a single villain. THE BATMAN also brings in the Penguin (an unrecognizable Colin Farrell) and an underworld figure, Carmine Falcone, played by John Turturro. But the best character is Zoe Kravitz’s Catwoman, that combination criminal adversary and love interest for iron-jawed Batman. Rounding out the cast are Andy Serkis as Batman’s aide/butler Alfred, Peter Sarsgaard as District Attorney Colson, plus Barry Keoghan, Rupert Penry-Jones and Jayme Lawson, among others.
There are twists and surprises aplenty here, often with “Ave Maria” often playing in the background. That soundtrack motif feels a bit of pretentious after while, but photography by Greig Fraser is gloriously noir, a real delight for fans of that genre.
Presenting the Batman story as film noir, as a police procedural, is an intriguing way to come at the whole Batman/Bruce Wayne tale. Audiences are so familiar with the Batman origin story through the many Batman retellings and reboots, that skipping some of its familiar elements, like a scene of his parents’ murders, is no problem. Finding a new way into this story is a bit of a problem, so doing so is an impressive feat, and the film deserves credit for that.
In this is a grim world, corruption is everywhere and the plot is very dark. But despite all the film noir surface, this is still a comic book movie and not some deep psychological drama. Pattinson does his handsome, brooding thing, with a little more youthful vulnerability in the few scenes where he is Bruce Wayne. Clearly Batman’s armor is protective in more than one way. His performance should please his fans, although as an actor, he has done more nuanced work in other roles. This Batman feels very young, more so that other versions. In his crime fighter identity, Pattinson’s Batman projects amazing strength and agility, even beyond all the technology at his fingertips. But his Bruce Wayne is not the smooth social character, polished and perfectly groomed, that we usually see for the alter-ego, but a very young man, reserved, even shy, and often a bit disheveled, but so privileged that it doesn’t matter. Once again, a far different approach.
The supporting cast is excellent, boosted by some unexpected choices, like Paul Dano as the Riddler, who is a delight. While Pattinson does that quiet, brooding thing, Zoe Kravitz nearly steals the show as Catwoman. Kravitz gives us a crackling Catwoman – smart, fearless, with a ready wit, that she sometimes turns on the Batman. This Catwoman has her own alter-ego and backstory, but most of all she lights up the screen with electric energy and has a terrific, biting sense of humor. Zoe Kravitz is one of the best things about this film, followed closely by Paul Dano, doing a fine, crazy Riddler. As the Penguin, Colin Farrell is largely underutilized, appearing in few scenes.
Where THE BATMAN goes off the rails is in offering too much, starting with it’s nearly three-hour running time. Too much story, too many villains and too much running time. Introducing so many villains (or near-villains) does the film no favor, and then there is the the nearly three hours running time. And you feels that running time too – every extra major character requires a subplot that deviates from the central story, and while Reeves does bring it all together in the end, it feels overwritten and audiences many feel exhausted by the end. There is enough material for two, maybe three, movies here, crammed into this one. It is a case of less would have been more.
THE BATMAN opens Friday, Mar. 4, at multiple theaters.
Check out the brand new trailer for THE BATMAN, hitting theaters next year on March 4, 2022.
From Warner Bros. Pictures comes Matt Reeves’ “The Batman,” starring Robert Pattinson in the dual role of Gotham City’s vigilante detective and his alter ego, reclusive billionaire Bruce Wayne.
Starring alongside Pattinson (“Tenet,” “The Lighthouse”) as Gotham’s famous and infamous cast of characters are Zoë Kravitz (“Big Little Lies,” “Fantastic Beasts: The Crimes of Grindelwald”) as Selina Kyle; Paul Dano (“Love & Mercy,” “12 Years a Slave”) as Edward Nashton; Jeffrey Wright (“No Time to Die,” “Westworld”) as the GCPD’s James Gordon; John Turturro (the “Transformers” films, “The Plot Against America”) as Carmine Falcone; Peter Sarsgaard (“The Magnificent Seven,” “Interrogation”) as Gotham D.A. Gil Colson; Jayme Lawson (“Farewell Amor”) as mayoral candidate Bella Reál; with Andy Serkis (the “Planet of the Apes” films, “Black Panther”) as Alfred; and Colin Farrell (“The Gentlemen,” “Fantastic Beasts and Where to Find Them”) as Oswald Cobblepot.
Reeves (“The Planet of the Apes” franchise) directed from a screenplay by Reeves & Peter Craig, based on characters from DC. Batman was created by Bob Kane with Bill Finger. Dylan Clark (the “Planet of the Apes” films) and Reeves produced the film, with Michael E. Uslan, Walter Hamada, Chantal Nong Vo and Simon Emanuel serving as executive producers.
The director’s behind-the-scenes creative team included Oscar-nominated director of photography Greig Fraser (“Dune,” “Lion”); Reeves’ “Planet of the Apes” production designer, James Chinlund, and editor, William Hoy; editor Tyler Nelson (“Rememory”); and Oscar-winning costume designer Jacqueline Durran (“1917,” “Little Women,” “Anna Karenina”). The music is by Oscar-winning composer Michael Giacchino (the current “Spider-Man,” “Jurassic World” and “Star Wars” films, “Up”).
Warner Bros. Pictures Presents a 6th & Idaho/Dylan Clark Productions Production, a Matt Reeves Film, “The Batman.” The film is set to open in theaters March 4, 2022 and will be distributed worldwide by Warner Bros. Pictures.
