Confronting the events that turned her into “The Hangman” – and led to a decade-long fight to survive in Arkham State Hospital – Sofia makes plans for a more hopeful future.

Episode Four of The Penguin, ‘Cent’Anni’, takes a pause on Oz Cobb’s ambitious rise to the top, and instead, audiences are taken back in time as the story of Cristin Milioti’s Sofia Falcone takes centre stage, and the tale of ‘The Hangman’ is brought to life. And the result is a scary, savage and sorrowful tale of a daughter lost to madness and the horrors that result from family legacy. Showrunner Lauren LeFranc puts it all on the line in Episode Four. It’s a pure opera of the depths of family hell, and its twists, turns, and surprises will leave you in shock as Sofia’s harrowing origin is brought to life! LeFranc has been open about how she was inspired in part by the dark history of the Kennedys, and especially the horrendous fate of Rosemary Kennedy in developing her backstory for Sofia Falcone, and it adds to the pure horror of the narrative in every possible way.

The origin of Sofia Falcone goes completely from A to Z in Episode Four, ‘Cent’Anni’, and we see Sofia go from an intelligent, brilliant young woman, who her father possibly sees as a worthy successor, to having her thrown into the pit of hell and emerging as something entirely else. And it makes for jaw-dropping television. Actress Cristin Milioti brings incredible range to her performance, and the harrowing transformation she undergoes in ‘Cent’Anni’ as her father’s true character comes to the forefront, and the base evil of her family’s power almost swallows her. After being made aware of a string of brutal murders, and making the connection to her mother’s own untimely ‘suicide’ as a child, Sofia encores the wrath of her father and his ‘family’ and finds herself thrown into a hell that completely re-shapes her into a terrifying new force.

Making his debut in The Penguin in ‘Cent’Anni’ is the undeniably talented Mark Strong as Carmine Falcone, who inherits the role from the great John Turturro, and Strong brings a new shade of sophistication and danger to the role of this formidable force of Gotham’s Crime Underworld. Strong portrays Falcone as a pure shark who’s not above going to any lengths to protect his empire, including sacrificing those closest to him to do it, and you feel his ultimate control and presence at every turn. Strong is an actor of tremendous range and presence, and it’s fantastic to see him working next to Milioti. You completely buy into their history as father and daughter and the dangers that shadow. While Falcone’s actions are deplorable and mark him out as a villain worthy of the deepest layer of hell, you can’t help but praise his incredible performance as this very dangerous man, and the level of complexity that he brings to the role.

Betrayed by her father, Sofia Falcone finds herself sentenced to the worst place in all of Gotham City, Arkham Asylum, and it’s here that ‘Cent’Anni’ takes a savage turn. While Matt Reeves only hinted at the madness of the infamous institution in The Batman, ‘Cent’Anni’ explores it to the fullest, and Sofia’s indoctrination into its brutish corridors makes for the stuff of the scariest horror films. Utter madness follows, and we watch her lose her sanity and self to this place. A new persona is born, that of ‘The Hangman’, and Sofia is thrown to monsters and emerges as one herself. Director Helen Shaver brings a female perspective to the horror that Sofia suffers through in this episode, and there’s plenty of violence, both physical and psychological, that will throw the audience around. Milioti throws herself into the madness, and it’s damn horrifying watching Sofia lose herself to this new persona, and the woman who emerges is someone entirely different.

‘Cent’Anni’ is utter madness captured on film, and with her origin established, the resulting third act leads to a dangerous confrontation and Sofia Falcone grabbing for her birthright in a move that brings her past and present together. And it’s a brutal end to the episode that none of us saw coming. Oz had better be careful because there’s a new boss in town, and she won’t suffer anyone who gets in her way.

The Penguin is now streaming on Neon and SKY TV.

Image: SKY TV

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Hoping to control the future of Gotham’s drug trade, Oz and Sofia must first address the skeletons in their closet. Victor is torn between his new life and what remains of his old one.

Things are starting to ramp up in speed with HBO’s The Penguin. This series so far has proven that it has the attitude and moxy of a pure crime classic. Now, as we move into Episode Three, ‘Bliss’, we see Oswald ‘Oz’ Cobb begin to make his move on Gotham City’s drug market… and he enlists the help of an intriguing and dangerous new partner, Sofia Falcone (Cristin Milioti). It’s a hell of a whack for audiences, and given their general mistrust of one another, it leads to all kinds of drama as Oz and Sofia happen upon a new substance that could change their fortunes and reshape the entire identity of the Gotham Crime underworld. And there’s plenty going on in this episode that will have audiences sitting up with attention.

In my mind, ‘Bliss’ is very much The Penguin’s Scarface-esquee episode, and I don’t just mean it because of Oz’s white suit! This is very much the ‘moving and shaking’ episode as Oz and Sofia cut deals and look for an innovative way to cut out the rest of the Falcone family while also playing off the Maroni’s at the same time. Colin Farrell has shown he has a talent for juggling when it comes to his portrayal of Oz, and he’s working overtime in this episode. And it shows. ‘Bliss’ gives a further insight into the interior character of Oz, and the broken, battered man that lives in his soul, and we see how his actions are a reaction to the rejection, fear and violence that he’s had to contend with his whole life. Total ambition is the only thing that drives Oz’s action, and in ‘Bliss’, we see him making his way forward, and he’ll suffer no one who gets in his way.

‘Bliss’ is also an important episode for the character development of Victor ‘Vic’ Aguilar (Rhenzy Feliz), as he has to come to a crossroads with his commitment to Oz, and a decision as to where he wants his life to go. Ever since falling under Oz’s spell, Vic has been an invaluable asset, and he’s taken to the mob life with skill, but in ‘Bliss’, he has to make a choice that will define his life forever. And it’s a hell of a choice. Rhenzy Feliz showcases an incredible level of sincerity amongst all the drama, and director Craig Zobel zooms in on the drama that surrounds him and the complicated feelings that compel his decision.

Episode Three of The Penguin makes for an audacious and intense watch, and there’s a boiling tension that follows all of our characters as Oz makes his move on the drug scene, thanks in key part to Sofia Falcone’s help. It’s a brooding watch, and we very much felt the Scarface vibes with this episode. But as with everything in OZ’s life, it quickly all goes to hell in the final moments, and with the shocking concussive force of a hand grenade, the episode ends on a hell of a cliffhanger, as Oz’s double-dealing smacks him across the face and the violence levels up.

The Penguin is moving forward at pace, and audiences get some very worthy television in Episode Three. Oz’s secret is out, the streets know about it, and he’s left in a very dangerous place. For audiences, that can only lead to plenty of excitement and tension as we move forward in this narrative.

The Penguin is now streaming on Neon and SKY TV.

Image: SKY TV

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Emboldened by Carmine Falcone’s death, Oz (Colin Farrell) moves to fill the power vacuum left in Gotham City’s criminal underworld. He finds a potential new recruit in young Victor Aguilar (Rhenzy Feliz).

The debut of HBO’s The Penguin is cause for serious excitement, and audiences who are looking for a gangster series that they can seriously sink their teeth into will be salivating thanks to the arrival of this new series. Episode One, ‘After Hours’ takes audiences into the immediate aftermath of The Riddler’s terrorist attack on Gotham City, and one week on control of the streets of Gotham is up for the taking. It’s here that Oswald ‘Oz’ Cobb (Colin Farrell) decides to make his play, and in the immediate opening moments of the series, we are left with one of the coolest scenes committed to television in recent years. Transformed by the genius of make-up artist Mike Marino, Farrell is the pudgy, disfigured and freakish Oz who has a ‘sit down’ with Carmine Falcone’s degenerate son, Alberto (Michael Zegen), and in this opening 10-minutes, we see a performance of such mad range of emotional depth, that Farrell completely sucks us in. It also says that The Penguin will be as dark as night and that the audience had better not get ahead of themselves with this series.

With the set-up of The Penguin in motion thanks to this explosive crack of gunshots, audiences are thrown into a crazy and schizophrenic first episode that will shake you up and rattle you around. While Farrell was able to share a snapshot of the personality of the ambitious but totally flawed Oz in The Batman, in The Penguin, we get to see a fully realized performance from the actor, and he completely holds the attention of the screen. Viewed by many as a freak with too many aspirations and an inflated sense of his own importance, Farrell brings an incredible range to Oz in ‘After Hours’, and audiences get a deeper dive into his character and motivation. As an almost Richard III type of character, Oz is ambitious, crafty, vicious, pugnacious, snarky, resentful, snivelling and wholey funny all at the same time, and Farrell throws his performance around throughout the entire episode, and you never know where Oz is going to land.

Having found himself in a dangerous position, Oz enlists the help of a teenage delinquent, Victor Aguilar (Rhenzy Feliz), who he takes pity on, and audiences are taken into the seedier side of Gotham City, which has been made worse by The Riddler’s attack. Where The Batman gives us a grand overview of Matt Reeves’s gothic-inspired Gotham City, The Penguin takes us to it on the ground level, and we see an incredible texture and lived-in, roughed-up aesthetic to Oz’s stomping ground. From neon-bathed red light districts to the palatial mansion of the Falcone estate, we get to cover a lot of range here in ‘After Hours’, and the total ambience of what audiences witness in this first episode will bring them deeper into the narrative. Traversing north and south and east and west across Gotham City also leads Oz to stop into his childhood home. It’s here that audiences are introduced to his mother, Francis Cobb (Deirdre O’Connell), who is affected by early onset dementia and who is incredibly disturbed and keenly aware and encouraging of her son’s actions. Deirdre O’Connell has an incredible back-and-forth with Farrell’s Oz, and her performance will leave you off-guard and on edge.

In Episode One of The Penguin, there are plenty of twists, turns, and surprises. One of the biggest arrives in the sudden appearance of Sofia Falcone, the estranged and troubled daughter of Carmine Falcone, who is also a convicted serial killer who has been ‘rehabilitated’ at Arkham Asylum and is now back in Gotham City. Sofia, played by Cristin Milioti, brings a sense of danger, paranoia, and unpredictability to the show. Despite having just been introduced to Sofia, it’s evident from the start that she has a history with Oz and doesn’t trust him at all. Unlike the men in the Falcone ‘family’, she sees through Oz’s facade and is deeply suspicious of his actions in the wake of her brother’s disappearance. With her intense gaze, stylish designer wardrobe, and bold red lips, Milioti exudes an aura of danger and impulsiveness, with her performance showcasing her character’s cruel nature and fiery personality.

‘After Hours’ turns the narrative all the way to up to 11 by the end of its runtime, and this is a piece of television of pure force. Blood is spilt, a cover-up is needed, and a group of very bad people demand answers, and all of it ensnares Oz in a vice of his own making. Moment by moment, you’re on the edge of your seat as Oz scrambles to stay above water, and it all ends in a ferocious third-act moment of torture and revelation. Putting it lightly, you’ll never look at piano wire in the same light again, and Oz and Sofia have a ‘heart to heart’ that will make you shudder. It all ends in a shocking reveal, and audiences are left in no doubt that violence and character will go hand-in-hand with this series.

The Penguin is a series of ambition, power, and a desire to take the American Dream, even if it means travelling down a very dark road to get there. This first episode showcases that we’re watching the next great HBO event series. Colin Farrell is ready to take it all as Oz Cobb, and he’s started to climb that ladder that will lead to another legend of Gotham City.

The Penguin is now streaming on Neon and SKY TV.

Image: SKY TV

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Check out our favourite films of 2022 below:

Honourable Mention: Barbarian

Unbelievably original and freakishly scary, writer/director Zach Cregger’s Barbarian was one extremely clever piece of horror that came right out of left field and delivered on all the terror. From its foreboding opening scenes to the excessive gore of its closing moments, Barbarian was a hell of a watch, and it really put the fear into audiences. This was a film that was unexpected and completely took audiences by surprise and its jump scares and repellent horror elements made for one of the best horror experiences of the year.

10. Cyrano

Noted filmmaker Joe Wright returned behind the camera for the opulent tale of the historical classic Cyrano de Bergerac in Cyrano, and this musical-historical-romance was a cinematic extravaganza. Show with a very luxurious eye and styled with beautiful baroqueness this film explores the very notion of love and its control over our souls. Peter Dinklage again commanded the very centre of the screen and as an audience member you could not but be caught up in the beauty and elegance of this amazing work.

9. Nightmare Alley

Visionary director Guillermo del Toro brought his unique gothic sensibilities to the outlaw carnival realm of the 1930s in his gripping and intense psychological thriller Nightmare Alley. And the result was film noir with a mean sense of bite. Re-adapting William Lindsay Gresham classic thriller to the big screen, del Toro narrowed in on the complexities of power and the dark side of man as Bradley Cooper’s ambitious carnie Stanton ‘Stan’ Carlisle would do anything for fame and fortune. With its dramatic scale and nerve-racking vigour, Nightmare Alley was a cinematic experience that kept audiences on edge the whole way through.

8. The Northman

A cinematic experience of full force, Robert Eggers’ The Northman was a teutonic movie of epic power and bold mythology and in watching it you felt the full fury of the Viking Age. Balancing the blood-letting ferocity of the past with the mysticism of the pagan era, The Northman was a beast of a movie and its savage power made you sit up in your seat. Alexander Skarsgard went to an extreme edge to become the murderous Prince Amleth, and this was a cinematic presentation that hit with the force of a battle axe!

7. Parallel Mothers

Renowned for his mastery of the cinematic arts, Pedro Almodóvar’s Parallel Mothers was a piece of cinema that completely wrapped you up in the complexity of its layered storytelling and its dramatic severity made a lasting impact on the audience. Exploring themes of love, motherhood, family, trauma and history, Parallel Mothers was a film that surprised you at every moment and its narrative turns led to plenty of shocking exposition. Penélope Cruz and Milena Smit created a very meaningful sense of chemistry between one another, and all of Almodóvar’s creativity and focus were refined down in this picture.

6. The Batman

With a brooding film noir presence director Matt Reeves brought the Dark Knight back to cinemas and this was a new type of Batman that audiences had never witnessed before. Laced with shadows and psychological complexity, The Batman was a rough and tumble portrait of an all-new Batman and it made for a very severe watch. Robert Pattinson brought a new quality to his obsessive and extreme portrayal of Bruce Wayne/Batman, which was matched with the seductive sensuality of Zoe Kravitz Selina Kyle/Catwoman. Then there was the psychopathic villainy of Paul Dano’s The Riddler and the old-school gangster bravado of Colin Farrell’s The Penguin, and all of it made for a new kind of watch. The Batman was bold and operatic in its cinematic presentation and its opening 20 minutes is some of the best cinematic presence ever captured on film. A new Dark Knight rose with The Batman, and audiences were spellbound.

5. Avatar: The Way of Water

After 13 years visionary filmmaker James Cameron returned to cinemas with the much-awaited sequel to his 2008 triumph Avatar, with Avatar: The Way of Water, and this was an utter masterpiece. Pushing the art of cinema further than it had ever been pushed before, Avatar: The Way of Water dialled up the technology of its storytelling to present an utterly beautiful presentation, and the action and intensity of this film ran at speed. Cameron jumped on the accelerator with this picture, and for those lucky enough to see it in IMAX, this was a film that delivered on the sheer scale that only cinema can present.

4. Mrs. Harris Goes to Paris

With its heartfelt storyline, loveable characters and gorgeous haute couture style, Mrs. Harris Goes to Paris was simply one of the best films of the year and audiences would be spellbound by its presentation. Anchored by a flawless performance by Lesley Manville, Mrs. Harris Goes to Paris was a beautiful movie-going experience right from start and you couldn’t help but get wrapped up in the lovely little story. Every part of this production came together with a beautiful sense of refined elegance and it was an utterly magical piece of cinema to watch.

3. The Menu

In terms of cinematic satire, nothing was sharper this year than director Mark Mylod’s The Menu and from beginning to end audiences were in for one hell of a shock. With a pitch-perfect cast, clever narrative, elegant decor and acute moments of horror, The Menu was horror cinema with a pulse and it certainly served up something new to the genre. Anya Taylor-Joy and Ralph Fiennes engaged in one hell of a standoff in this picture, and the shock factor of this picture kept the audience guessing at every single moment.

2. Top Gun: Maverick

In 2022 Hollywood superstar Tom Cruise once again stepped back onto the flight deck and buckled in for the adrenaline rush of Top Gun: Maverick as Captain Pete ‘Maverick’ Mitchell, and this was a film that pulled audiences right back into the danger zone. With its non-stop adrenaline, heartfelt nostalgia and cinematic technology that put you right into the centre of an F-18 at full velocity, this was a blockbuster extravaganza and it was a picture that brought audiences back to the power of the cinema. From beginning to end, Top Gun: Maverick was a rush of energy and fun, and audiences looking to have their adrenaline maxed out were well rewarded by this picture. It was just AWESOME!

1. Elvis

But when it comes to the cinema of 2022 one film reigned supreme and that was Baz Luhrmann’s auteur rock ‘n’ roll epic Elvis! And damn did this picture groove. With his unique sense of glamour, style and pop energy, Luhrmann brought the life of the King of Rock ‘n’ Roll , Elvis Presley, to the cinema as only he could. This was a film of pure spectacle and marked rising star Austin Butler as one performer to seriously keep an eye on. His commitment was complete and total and he rocked out completely as The King! Elvis was a cinematic experience of pure energy and you found yourself fully grooving out in your seat with this picture, and watching it in the dark of the cinema, with a full audience around me was one of the best experiences of the year.

The post SpicyPulp’s Top 10 Films of 2022 appeared first on SpicyPulp.

For those who have yet to see The Batman, turn away now, because what we have here is a closer look at The Joker, as played by Barry Keoghan. Initially teased at the climax of The Batman when Paul Dano’s Edward Nashton/The Riddler is locked away in Arkham Asylum, the presence of a new Joker sent shivers down the spines of audience members and in this newly released deleted scene we get an all-new insight into the demonic presence of this crazed psychopathic villain.

Set out as an interrogation with Pattinson’s Batman seeking an insight into the mind and behaviour of The Riddler, this scene between the future arch-enemies suggests an initial run in between the two in Batman’s first year as a crime fighter and the scene as a sinister Silence of the Lambs quality with Keoghan’s Joker doing everything he can to get under Batman’s skin. While we don’t get a full picture of this Joker, it’s clear that he’s a horrifically scarred and burned freak and his madness and psychopathy is clearly on display.

Watch the full clip below:

How Keoghan will grow into the role of the Joker is still to be seen, but judging from this first look it’s clear that his version of the Joker in the Matt Reeves’ Batman narrative is going to be one hell of a freak.

The Batman is in cinemas NOW.

The post Take a look at The Joker in Matt Reeves’ ‘The Batman’ appeared first on SpicyPulp.

During his second year of fighting crime, Batman pursues the Riddler, a serial killer who targets elite Gotham City citizens. He uncovers corruption that connects to his own family during the investigation and is forced to make new allies to catch the Riddler and bring the corrupt to justice.

When it comes to iconic pop-culture heroes there is one who stands above all the rest. A dark crusader of the night’s skies who strikes fear into the souls of the criminals that prowl the streets beneath him, Batman is one of the most beloved, cherished and impactful superheroes ever to be created and his story and fight for justice continues to resonate with audiences. Created in 1939 by Bob Kane and Bill Finger, Batman’s unique character, story, Rogues Gallery, gadgets and straight-up badassery continues to make an impact on audiences the world over and every time he returns to the big screen it’s a time for much excitement and intrigue. For any filmmaker, the promise of finding a new way into the Batman mythos can be a daunting challenge but rest assured because the visually gifted Matt Reeves is here to bring you a Batman that you have longed dreamed of seeing on screen and The Batman is an utter masterwork to behold.

As a filmmaker, Reeves finds a new way into the Batman mythos by taking a radically different approach to the narrative and worldbuilding of The Batman, and this is a Batman film unlike any you’ve seen before. By-passing the standard origin tale, Reeves’ The Batman is a ‘Year Two’ story and this is its point-of-difference. Neither a beginning crime fighter, nor an established veteran, this Batman is a bold and brutal nighttime vigilante who has had an effect on the scum of Gotham City, but who is still continuing to find his feet as he confronts the Gotham underworld. This ‘Year Two’ narrative is blended with the lived-in, hyper-realism style that Reeves fosters not only in the character and actions of Robert Pattinson’s Bruce Wayne/Batman but also in the landscape and existence of Gotham City and its inhabitants. Shot through the lens of film noir, Reeves’s The Batman presents a murky, grungey, crowded, rain-soaked and corrupt Gotham City that is on its last legs, where citizens live in constant fear and which is in dire need of a saviour and protector. This is where Reeves sets his story and he certainly works his magic.

Reeves’s approach to The Batman leads him into the realm of film noir and detective fiction and the resulting picture speaks for itself on-screen. With cinematographer Greig Fraser, production designer James Chinlund, art director Grant Armstrong, costumers Jacqueline Durran, Dave Crossman and Glyn Dillon and hair and make-up artist Mike Marino, Reeves crafts The Batman into an incredibly unique vision. Looking to influences such as The Godfather, Chinatown and Se7en, Reeves builds out a dark, brooding detective-noir narrative and his attention to detail will have you wide-eyed with excitement. He also finds the right balance between the practical and the fantastical and his portrait of Batman and Gotham City is the stuff that long time fans could only dream of. Greig Fraser’s dark-shadowed, almost sepia-like imagery also adds to the effect and impact of the story and the result is a murky, dark portrait that moves between scintillating glamour and nightmarish horror at the same time.

Donning the cape and cowl is Bristish thespian Robert Pattinson and this young actor makes for an incredibly impressive Batman. Seeking a new angle, Pattinson’s Bruce Wayne/Batman is not the glamourous playboy and stalwart avenger of Gotham City, but instead, a haunted insomniac and wrathful creature of the night possessed by an obsession that borders on the sheer edge of madness as he wages his one-man war on crime from the shadows and takes back the city of Gotham one block at a time. Part of what makes Pattinson’s portrayal of Bruce Wayne/Batman so intriguing is that Reeves takes us into the character’s internal monologue, and for the first time we get to hear his inner thoughts as he narrates the actions and consequences of his quest for vengeance. This is a massive point of difference in the portrayal of the Batman character from what we’ve seen before and Pattinson digs deep and transforms himself into this obsessive loner whose fight for the city of Gotham, and need for vengeance is becoming all-consuming.

Pattinson, under Reeves’s direction, also keenly plays up Batman’s role as the ‘world’s greatest detective’ and much of the story follows his investigation into the actions of the brutal serial killer called The Riddler. We see Pattinson’s Batman working the case, and employing his unique mind, technology and inquisitive detective skills to piece together a growing and dangerous conspiracy. And it’s fascinating to watch. Of interest for audiences in this portrayal is that Pattinson throws himself into the form of Batman over that of Bruce Wayne and this has a seriously dramatic effect on the narrative. What this shows is a character who lives in his shadow persona, forsaking the person who lives in the light and it’s a point-of-difference from other portrayals. Themes of identity and history factor into Pattinson’s performance and long time fans will be very happy with how Pattinson’s interpretation of Bruce Wayne/Batman plays into the grand mythos of the character and the connections to the Wayne family, Arkham Asylum and other core tenants of the Batman story.

Pattinson’s Batman isn’t just a mere detective either and we get to see him let his physical side out as Batman, and when he’s encased in his armour and takes to the night’s skies looking for a fight, he transforms into an utter monster. Favouring a bone-breaking, smash-bash, street fighting style that focuses more on effective brutality than flamboyant style, Pattinson’s Batman goes to work on the streets of Gotham and he’s a particularly dangerous creature to cross. There’s nothing pretty about the combat here. It’s brutal, nasty, violent, and directly to the point. In short, it’s real. Pattinson’s Batman isn’t flashy or showy, he’s not fighting to impress, he’s fighting to win and to cause as much terror to his combatants as possible. The film’s fight scenes are bone-snapping in their presentation and Pattinson proves that he has a real talent for action cinema as he jumps headfirst into the fray. Special note is also made to Pattinson’s Batman being very much a human figure. He’s not immune to pain or getting smashed up and he certainly takes a few punches. But he sure does throw them back a hell of a lot harder.

While Pattinson’s Bruce Wayne/Batman may serve as the film’s primary protagonist, Reeves also introduces audiences to a fresh-faced and edgy young woman named Selina Kyle, played with extraordinary grace and red-hot sex appeal by Zoë Kravitz, and she’s a femme fatale in the making. As a young woman who is entrenched in Gotham City’s criminal underworld, and who possesses her own unique skills and is nursing a need for vengeance, Kravitz brings a fire and energy to a Catwoman for a new generation and she’s a great partner for Pattinson’s Batman on screen. Where Pattinson’s Bruce Wayne/Batman carries a real masculine edge, Kravitz’s Selina Kyle brings her own feminine power to bear and there’s is a great ying/yang confrontation throughout The Batman’s narrative. Kravitz has incredible sex appeal as Kyle and holds the attention of the screen, and this girl can seriously throw a kick and her presence takes the action and intrigue of The Batman to a new level.

Batman’s mythology is filled with a list of dangerous members of the Rogues Gallery and Matt Reeves reinvents many of them in this, his new telling of the Batman story. The film’s central villain is The Riddler, played by an unhinged and skittishly psychopathic Paul Dano, who is re-introduced to audiences as a calculating and vicious serial killer who is willing to burn Gotham City to the ground. The Riddler engages Batman in a chilling game of cat and mouse and Dano commits fully to this terrifying character, and his presence and actions are sure to unnerve audiences as he attacks Gotham’s elite with a twisted zeal in his quest for ‘justice’. This new portrait of The Riddler marks out The Batman from any other Batman film and Reeves creativity and quest to push the envelope shows through in this character and his appearance is sure to send a chill down your spine.

While The Riddler serves as the film’s primary antagonist, Reeves also builds out the Rogues Gallery, and the underworld of Gotham City, with several other key villains including money-minded gangster Oswald ‘Oz’ Cobblepot (Colin Farrell) and mafia don Carmine Falcone (John Turturro). Both Farrell and Turturro make dramatic changes as they morph into their respective characters, and they bring a grand gangster presence that is key to The Batman’s success. Like Pattinson’s Batman, we are only in the early stages of seeing these characters come to life and this is clear when it comes to Farrell’s Cobblepot. Not yet a crime-lord of Gotham, but rather an ambitious mob lieutenant with expensive tastes, Farrell’s Cobblepot is a scarred and disfigured thug who is mockingly referred to as ‘The Penguin’ by those around him, and who is only beginning to make his mark on Gotham. But the mark will be made.

As a cinematic experience, The Batman is a film that gripped me from beginning to end and I found myself completely enamoured by the narrative that Matt Reeves brought to the big screen. Of particular enjoyment was watching Reeves and Pattinson exploring the internal side to Batman and seeing Batman’s internal monologue brought before us in the film’s gripping opening scenes. This introduction to the character and the establishment of a new Gotham City was one of the most exciting and electrifying parts of the entire film that I witnessed and I felt in these moments like this was the Batman film I had been longing for my entire life. Set against the moody music and vocals of Nirvana’s ‘Something in the Way’, this opening scene and narration set the atmosphere for the noir-laced epic that we were to witness and it was a hell of a new introduction for such a legendary character.

Alongside this exploration of the internal workings of Bruce Wayne/Batman’s mind and interior monologue another of my favourite parts of The Batman was the presence of an all-new Batmobile. And this is one grunty metal beast. Seeking something new, Reeves and his team turned to the classic American muscle car stylings of a 1970 Plymouth Barracuda to mould their Dark Knight’s chariot from and it’s a pure demonic presence on screen. This Batmobile screams power, ferocity, speed and intimidation and watching Pattinson let loose in it made for one hell of a rush! Reeves again pushes for reality with his film’s signature car chase and there’s nothing pretty about it as Pattinson’s Batman charges after Farrell’s Cobblepot. With its brutalism design aesthetic and sheer engine ferocity, this Batmobile is built to do one and thing, and one thing only: run the bad guys off the road. And that’s exactly what it does. Throw in Michael Giacchino’s adrenaline charging score and you’ve got a seriously badass car chase.

The success of The Batman as a cinematic experience goes back to its director’s desire to stay true to the source material and to present a film-noir detective tale that is rich in detail and epic in scale. Reeves truly builds a living breathing Gotham City and there’s so much to take in with The Batman. It’s a film that is contemporary and practical, but also stylistic and fantastical. It tells a complete story from beginning to end and resurrects a beloved hero and his frightening rogues, along with teasing the appearance of the mania and chaos that could soon sweep the streets of Gotham City and which awaits laughing in the shadows. The Batman is a film that is truly made for the fans and audiences who are seeking a definitive Batman story will be very pleased with what Matt Reeves brings to the big screen with this dark and brooding narrative.

Characters don’t get more heroic or inspiring than Batman and that’s exactly what Matt Reeves has given us in The Batman. Richly detailed, exciting to watch and getting to the very soul of the Dark Knight, The Batman is an utter masterwork to behold and audiences will be clenching their seats from an outpouring of adrenaline as they witness this piece of cinema unfold before their eyes. Movies simply don’t get any better than this.

Image: Warner Brothers Pictures

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Following on from the release of tracks for individual scores for The Batman and The Riddler we now have the debut of Michael Giacchino’s new title track for Zoe Kravitz’s Selina Kyle/Catwomen. Check it out below:

Featuring a romantic, sultry and noir piano style, this new track is quintessential of 1930s and 1940s film noir and has a very femme fatale edge to it. There’s a romantic styling to it, along with a certain sadness and tragedy that also goes with the character of Selina Kylie and you can feel the pull of a romantic pulse that is sure to be explored further between her and Robert Pattinson’s Bruce Wayne/The Batman.

With all of these themes, we’ve got a terrific sense of where The Batman is heading and the thematic quality that Michael Giacchino’s score implies and the importance that it will bring in helping Matt Reeves to realise his complete and totally new vision for the film.

Here’s the official synopsis for The Batman:

During his second year of fighting crime, Batman pursues the Riddler, a serial killer who targets elite Gotham City citizens. He uncovers corruption that connects to his own family during the investigation, and is forced to make new allies to catch the Riddler and bring the corrupt to justice.

Brace yourself for an epic blockbuster cinema experience when The Batman arrives in cinemas on March 3.

Image: Warner Brothers Pictures

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Listen to the brand new ‘The Riddler’ track here:

With a sharp and dangerous sound that feels like a razor blade being dragged across a guitar before erupting into an operatic and haunting musical piece, ‘The Riddler’ winds its way into your mind and suggests a haunting and dangerous new villain who is haunting the streets of Gotham and striking a sense of murderous fear into its citizens.

While we’ve seen little of The Riddler in much of the latest trailer  for The Batman, it’s clear that he’s a dangerous and sadistic opponent for Bruce Wayne/The Batman (Robert Pattinson) and actor Paul Dano is certainly dialling up the creep factor in his performance. Taking inspiration from the infamous 1970s serial killer, The Zodiac Killer, Dano has crafted a villain who is sure to get under your skin and his intelligence and sadism is sure to mark out The Batman as an all-together different kind of superhero movie.

Here’s the official synopsis:

During his second year of fighting crime, Batman pursues the Riddler, a serial killer who targets elite Gotham City citizens. He uncovers corruption that connects to his own family during the investigation, and is forced to make new allies to catch the Riddler and bring the corrupt to justice.

The Batman is sure to be an extremely unique and different kind of superhero watch and fans of the genre should expect the unexpected here.

Brace yourself for the hunt of the night when The Batman arrives in cinemas on March 3.

Image: Warner Brothers Pictures

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Watch the brand new clip for The Batman below:

Dubbed ‘The Funeral Scene’ audiences see a disconnected and reclusive Bruce Wayne (Robert Pattinson) who in a rear public appearance makes an outing to pay his respects to a murdered city official. While in the church, Wayne sees the dead man’s son and experiences a moment of pain and past remorse at his parents own passing. We also see him eavesdrop on a conversation between Detective Luitenant James Gordon (Jeffrey Wright) and the chief of the Gotham City Police before a frantic and crazed assault is brought on the church by The Riddler and Wayne jumps into action.

It’s a hell of a scene and illustrates the grandeur of Reeves storytelling and his attention to detail. Watching the action unfold I felt as if I was watching a scene from The Godfather, and this ties directly back to Reeves desire to craft a story that feels very different from the typical comic book narrative.

Alongside this new first look clip from The Batman, we also have the first official taste of composer Michael Giacchino’s score for The Batman. The aptly named title track will serve as the chief motive and score for the film’;s central character and it is a score that packs together ideas of haunting sorrow and pain, alongside rousing heroism and epicness. It’s a perfect touch for the film and crafts a mood for something completely different and audiences will be ready for something wild here.

Here’s the official synopsis:

During his second year of fighting crime, Batman pursues the Riddler, a serial killer who targets elite Gotham City citizens. He uncovers corruption that connects to his own family during the investigation, and is forced to make new allies to catch the Riddler and bring the corrupt to justice.

The Batman is far and away my most anticipated film of 2021 and I’m extremely excited to see it unfold here. The action looks intense, the drama haunting and star Robert Pattinson is ready to make the Dark Knight his own when The Batman arrives in cinemas on March 3.

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Check out the full list of our five most anticipated films of 2022:

The Batman

A new Dark Knight is ready to take to the skyline of Gotham City and deliver justice at the end of his fists in director Matt Reeves’ murky, noir-laced, superhero thriller The Batman. With rising star Robert Pattinson ready to don the cape and cowl of Bruce Wayne/Batman, The Batman is shaping up to be one of 2022’s most intriguing cinematic experiences and with its dark noir cinematography and sinister narrative is our most anticipated film of 2022. Brooding and intense, this will certainly not be one for the faint of heart, but The Batman is set to deliver a cinematic experience you won’t soon forget.

Thor: Love and Thunder

Director Taika Waititi and star Chris Hemsworth are heading back to the cosmos of the Marvel Cinematic Universe for 2022’s Thor: Love and Thunder and let it be said that this is my most anticipated Marvel Studios release of the year! Building off of the rollercoaster ride that was 2017’s Thor: Ragnarok, Waititi is promising a film that is going to dive even deeper into the sci-fi crazy that he first established in 2017 and which will jam out with plenty of 1980s hair metal flair. Add in the fact that Hemsworth has taken his muscled frame to even more heroic levels and we see the return of Natalie Portman as Jane Foster and Christian Bale as intergalactic alien villain Gorr the God Butcher and we’re ready for something incredibly unique within the MCU. Bring it!

The Northman

Prepare to chart coarse to the frozen lands of the Norse in a bloody tale of revenge that is The Northman! This is a piece of cinema that is ready to deliver vengeance at the edge of an axe blade and director David Eggers is crafting a genuine historical epic with this Viking saga. Alexander Skarsgard appears to be at his most savage in the role of Prince Amleth, heir to a Viking kingdom, who, cast out by his evil uncle, swears revenge and is determined to gain his retribution by any means necessary. Prepare to experience the blood and power of the Old Gods with The Northman and ready your call to the halls of Valhalla.

Bullet Train

Ever since I first heard that Hollywood megastar Brad Pitt was teaming up with director David Leitch for the full-on, adrenaline-charging rush of Bullet Train I was hooked. And damn does this blockbuster action thrill ride sound gnarly. Pitt stars as Ladybird, one of five assassins aboard a high-speed bullet train that is hurtling towards Tokyo. But while he has his own score to settle he soon realises that every target onboard is connected and that’s when the bullets start to fly. With Leitch’s talent for kinetic-moving action sequences and Pitt’s star appeal and machismo, Bullet Train is shaping up to be a full-on rush and I cannot wait to see how this one turns out.

Top Gun: Maverick

Hollywood superstar Tom Cruise is ready to take the skies once more as Captain Pete ‘Maverick’ Mitchell in the must-watch aerial blockbuster that is Top Gun: Maverick. Top Gun is regarded as one of the 1980s most seminal films and now more than 36 years later we’re ready to catch up with Maverick as he prepares for one last charge into the skies. Top Gun: Maverick is shaping up to be a colossal cinematic event, and Cruise has described the film as a ‘tribute to aviation’ and as an avid aviator himself you can tell that he’s ready to push the envelope even further into the danger zone this time.

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