Madness Toned Down.
Burton’s one more take on this dark DC universe can be categorized as our guilty pleasure, similar to its predecessor. And similar to it, the writers are basically shooting in dark, with banal sequences and characteristics- that may or may not work- they are moving with an incredible pace to reach in an also rushed climax. It is big mix bag. It has flaws, it is off putting at times, but then it is also entertaining and smart where it touches few unexpected mature notes, basically the heart is in the right place, no matter where the craft resides. And among many characters, the most avant-garde and unstable is Pfeiffer’s Catwoman.
Infamous for her role in this film throughout her career, one can easily spot where the audience go berserk over her performance, it fluctuates frequently from being exceptionally good to eerily questionable. I would blame writers for installing not-so-practical acts on her basket and other multiple odd gatherings and chalky conversations. Still her range of melting down within a snap and then regain power with a maniacal laughter ought to be eye popping. The technical department, obviously, feels short handed since it doesn’t hold up with time; the make-up design is really fine though.
DeVito does carry on the passed torch by Nicholson, with a creative and vivid body language that does most of the performance for him and with some good monologues and speeches, he manages to safely board the train. Keaton has always been the weakest link on the franchise, he may ooze the charisma of a billionaire but on terms of merit, there is a long way to go for him. Batman Returns but only for fans, with few awe inducing moments and brilliant supporting cast, the franchise is still gullible in Burton’s overly decorative world.