Batman Returns

I like Burton, but he should never touch comics again. Besides, he didn't choose very good actors. Keaton annoyed me from the beginning, DeVito's Penguin is not a villain, but a desperately bizarre character, and Michelle Pfeiffer is a rather discouraging example of how to ruin a cult character of the series with Catwoman. And although Elfman's music is great and saves the atmosphere and to some extent the whole movie, this combination doesn't fit me at all. Depression and grotesqueness in the redrawn gothic setting do not equal a quality spectacle for me. I would rather watch the overacting duo Carrey-Jones in Batman Forever. 50% (03/25/2007)

For me, Tim Burton's second Batman is clearly better than the first. And for several reasons. First of all, I love the dark atmosphere, and Burton serves it up much more frequently and also more palatably (I'm not saying digestibly) here compared to the first. The sets and the production design are absolutely perfect, and every shot breathes sophistication and the incredible care with which Burton built each scene. I admit, and also agree with the opinion of others, that it may be harder to digest for some with weaker stomachs, as it is a bit scary at times. The lion's share of the slickness and quality of the whole film is due to Danny Elfman, whose soundtrack is absolutely phenomenal and matches all the features of the second Batman to a tee. If it weren't for Christopher Nolan, this would be the best Batman ever and could hardly ever be topped. But The Dark Knight is The Dark Knight.) (04/24/2009)

Together with the first two parts of Nolan’s trilogy, this is the best cinematic Batman. Burton’s visual style works better than in the previous one – probably it’s really fitting for the Christmas period, Burton has always been good at finding moral filth and darkness behind a snowy facade. DeVito is great as The Penguin, delivering a solid balance between caricature and a real threat hiding in the sewers and wearing bizarre costumes, and the story also has room for another (semi-)antagonist, the splendid Catwoman (with the magical face of the most beautiful actress of her generation). Batman is only one part of a balanced triangle of characters, he only reacts to the actions of the other two (and it’s the only one with pure intentions). The character of Christopher Walken is also important and brilliant, he’s the one who brings everyone together. The final confrontation was bit a silly and the drama is not very effective, but everything is compensated by the clever relationship structure and an inimitably morbid comic-book style accompanied by Elfman’s music score, a joy to watch. 85% (12/21/2020)

If you want to make an adaptation of classic comic books, the biggest problem is how you want to deal with the fact that it was consumable material for the working class, basically commercial junk. They were naive stories with superheroes and villains, who look highly inappropriate in today's setting. Even though the action aspect is great in Nolan's trilogy, it seems out of place with its pathos and serious image. The vast majority of comic book adaptations suffer from schematism and an attempt to please the teenage audience. They try to impress, and they rely on effects. Burton's Batman is playful, visually polished, has a unique style and unmistakable poetics, and it is original and perfected to the last detail. Most comic movies have a problem with overkill, whereas this Batman is irresistibly ironic, evidently not taking itself too seriously. I don't think it's just the best Batman film, but also one of the best comic movies overall. Overall impression: 90%. (02/24/2019)

The incredibly dark atmosphere together with Danny Elfman's music deliver a true comic book experience. I dare to say that the second Batman movie is not only more skillfully directed, but also visually more impressive, more atmospheric, and far darker. There isn't as much action, with more emphasis placed on the characters. Batman's gadgets are once again presented in full glory and for the entire two hours, there’s no chance of getting bored. The magnificent production design makes us forget about Joel Schumacher's later colorful escapades. (12/24/2005)