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'Batman Begins" at last penetrates to the dark and troubled depths of the Batman legend, creating a superhero who, if not plausible, is at least persuasive as a man driven to dress like a bat and become a vigilante. The movie doesn't simply supply Batman's beginnings in the tradition of a comic book origin story, but explores the tortured path that led Bruce Wayne from a parentless childhood to a friendless adult existence. The movie is not realistic, because how could it be, but it acts as if it is.

Opening in a prison camp in an unnamed nation, "Batman Begins" shows Bruce Wayne ( Christian Bale ) enduring brutal treatment as a prisoner, as part of his research into the nature of evil. He is rescued by the mysterious Henri Ducard ( Liam Neeson ), who appoints himself Wayne's mentor, teaches him sword-fighting and mind control, and tries to enlist him in his amoral League of Shadows ("We burned London to the ground").

When Wayne refuses to kill someone as a membership requirement, Ducard becomes his enemy; the reclusive millionaire returns to Gotham City determined to fight evil, without realizing quite how much trouble he is in.

The story of why he identifies with bats (childhood trauma) and hates evildoers (he saw his parents killed by a mugger) has been referred to many times in the various incarnations of the Batman legend, including four previous films. This time, it is given weight and depth. Wayne discovers in Gotham that the family Wayne Corp. is run by a venal corporate monster ( Rutger Hauer ), but that in its depths labors the almost forgotten scientific genius Lucius Fox ( Morgan Freeman ), who understands Wayne wants to fight crime and offers him the weaponry.

Lucius happens to have on hand a prototype Batmobile, which unlike the streamlined models in the earlier movies, is a big, unlovely juggernaut that looks like a Humvee's wet dream. He also devises a bat-cape with surprising properties.

These preparations, Gotham crime details and the counsel of the faithful servant Alfred ( Michael Caine ) delay the actual appearance of Batman until the second act of the movie. We don't mind. Unlike the earlier films, which delighted in extravagant special-effects action, "Batman Begins" is shrouded in shadow; instead of high-detail, sharp-edged special effects, we get obscure developments in fog and smoke, reinforced by a superb sound-effects design. And Wayne himself is a slow learner, clumsy at times, taking foolish chances, inventing Batman as he goes along.

This is at last the Batman movie I've been waiting for. The character resonates more deeply with me than the other comic superheroes, perhaps because when I discovered him as a child, he seemed darker and more grown-up than the cheerful Superman. He has secrets. As Alfred muses: "Strange injuries and a nonexistent social life. These things beg the question, what does Bruce Wayne do with his time?"

What he does is create a high profile as a millionaire playboy who gets drunk and causes scenes. This disappoints Rachel Dawes ( Katie Holmes ), his friend since childhood, who is now an assistant D.A. She and Lt. James Gordon ( Gary Oldman ), apparently Gotham City's only honest cop, are faced with a local crime syndicate led by Carmine Falcone ( Tom Wilkinson ). But Falcone's gang is child's play, compared to the deep scheme being hatched by the corrupt psychiatrist Dr. Jonathan Crane ( Cillian Murphy ), who, in the tradition of Victorian alienists, likes to declare his enemies insane and lock them up.

Crane's secret identity as the Scarecrow fits into a scheme to lace the Gotham water supply with a psychedelic drug. Then a superweapon will be used to vaporize the water, citizens will inhale the drug, and it will drive them crazy, for reasons which the Scarecrow and his confederates explain with more detail than clarity. Meanwhile, flashbacks establish the character's deepest traumas, including his special relationship with bats and his guilt because he thinks he is responsible for his parents' mugging.

I admire, among other things, the way the movie doesn't have the gloss of the earlier films. The Batman costume is an early design. The Bat Cave is an actual cave beneath Wayne Manor. The Batmobile enters and leaves it by leaping across a chasm and through a waterfall. The Bat Signal is crude and out of focus.

The movie was shot on location in Chicago, making good use of the murky depths of lower Wacker Drive and the Board of Trade building (now the Wayne Corp.). Special effects add a spectacular monorail down La Salle Street, which derails in the best scene along those lines since "The Fugitive."

Bale is just right for this emerging version of Batman. It's strange to see him muscular and toned, after his cadaverous appearance in "The Machinist," but he suggests an inward quality that suits the character. Rachel is at first fooled by his facade of playboy irresponsibility, but Lt. Gordon figures out fairly quickly what Batman is doing, and why. Instead of one villain as the headliner, "Batman Begins" has a whole population, including Falcone, the Scarecrow, the Asian League of Shadows leader Ra's Al Ghul ( Ken Watanabe ) and a surprise bonus pick.

The movie has been directed by Christopher Nolan , still only 35, whose "Memento" (2000) took Sundance by storm and was followed by " Insomnia " (2002), a police procedural with Al Pacino . What Warner Bros. saw in those pictures that inspired them to think of Nolan is hard to say, but the studio guessed correctly, and after an eight-year hiatus, the Batman franchise has finally found its way.

I said this is the Batman movie I've been waiting for; more correctly, this is the movie I did not realize I was waiting for, because I didn't realize that more emphasis on story and character and less emphasis on high-tech action was just what was needed. The movie works dramatically in addition to being an entertainment. There's something to it.

Roger Ebert

Roger Ebert was the film critic of the Chicago Sun-Times from 1967 until his death in 2013. In 1975, he won the Pulitzer Prize for distinguished criticism.

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Film credits.

Batman Begins (2005)

Rated PG-13 for intense action violence, disturbing images and some thematic elements

140 minutes

Christian Bale as Bruce Wayne/Batman

Michael Caine as Alfred

Liam Neeson as Henri Ducard

Morgan Freeman as Lucius Fox

Gary Oldman as Lt. Gordon

Katie Holmes as Rachel Dawes

Rutger Hauer as Earle

Directed by

Christopher Nolan
David S. Goyer

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Batman Begins Reviews

This is the moment Nolan began to establish his blockbuster tendencies: dynamic camera movement, rich cinematography, and heavy use of a majestic background score.

Full Review | Oct 17, 2023

This entry is the only film in the dark knight trilogy that doesn’t feel like a Christopher Nolan movie, and I adore it for that reason.

Full Review | Sep 26, 2023

Nolan’s first take on Batman redefined the character for a 2000s audience and gave superhero films the license to play it straight in a way that they hadn’t really before, sans the melodramatic heights of Sam Raimi’s Spider-Man films.

Full Review | Jul 20, 2023

The technical aspects are deft, especially the sound and cinematography... But what really works is how Gotham exists in a world apart from out own.

Full Review | Original Score: 3.5/4 | May 8, 2023

Batman Begins is important and delectable... a fun and entertaining movie. [Full review in Spanish]

Full Review | Mar 29, 2023

Batman Begins tansforms the superhero genre and transcends its limitations with a film that is a moving, emotionally involving, and exciting experience.

Full Review | Original Score: 4/4 | Mar 21, 2022

Played straight and with edge, Nolan's reboot put humanity into characters, often bypassing computer-generated effects for a more intense sense of reality.

Full Review | Nov 30, 2021

Nolan and Batman Begins [are] the progenitors of the gritty, realistic cinematic superhero movement...

Full Review | Apr 15, 2021

Admirable in its emphasis on character over gadgetry, and is ambitious for a summer blockbuster, but for me, unfortunately it never quite takes flight.

Full Review | Original Score: 3/5 | Jan 31, 2021

All in all, it definitely changes the course - for the better - of this formerly failing franchise.

Full Review | Original Score: 8/10 | Sep 25, 2020

Batman is shackled by one of the most potent recurring themes in Nolan's work: a fear of the past, in all its pain, guilt and trauma - a fear that the forward march of time may not be enough to heal.

Full Review | Aug 28, 2020

Batman Begins is an utterly conventional, conformist work, respectful of order and wealth, unable or unwilling to challenge any of contemporary society's taboos. Worse than that, its grim pomposity and self-seriousness invite only laughter.

Full Review | Jul 9, 2020

Batman Begins is certainly a worthy staging post in the inescapably compelling career of Christopher Nolan, and stands the test of time some 15 years after its release.

Full Review | Original Score: 4/5 | Jun 9, 2020

Batman Begins is easily one of the best films featuring the iconic DC Comics superhero, but far from perfect, despite telling what may just end up being the definitive big screen origin story for the Dark Knight.

Full Review | Original Score: 4/5 | Feb 15, 2020

Bale provides the series with the best Batman thus far, with a dark and conflicted performance that easily matches Nolan's tone.

Full Review | Original Score: B | Nov 19, 2019

With a phenomenal cast, technical work that is beyond reproach and attention to detail that is generally only seen in works by Spielberg or Lucas, Batman Begins is a perfect way to begin the summer movie season.

Full Review | Nov 6, 2019

Christopher Nolan doesn't just reinvent the franchise for the big screen but Batman Begins takes the franchise back to its roots.

Full Review | Original Score: 5/5 | Sep 22, 2019

The film looks great and there some striking set-pieces, but in spite of a series of comic quips -- the new film lacks a sense of adventure and fun. Nevertheless, Nolan, Goyer and Bale have still managed to revitalize the ailing franchise.

Full Review | Original Score: 4/5 | Apr 24, 2019

I like that it embraces comic book sensibilities a little bit more than other Nolan films. Definitely a bit too long but a good origin story

Full Review | Original Score: B+ | Apr 15, 2019

Batman has been all about darkness, Nolan just makes it a shade darker. Go see it.

Full Review | Original Score: 3/4 | Jan 8, 2019

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Batman begins, common sense media reviewers.

Smart and entertaining, but also very violent.

A Lot or a Little?

What you will—and won't—find in this movie.

The movie's overall dark tone gives a sense that t

Batman is obviously a hero. He fights for justice

Some violence is harshly rendered, with sharp, fas

Romance is implied (one kiss); one "playboy" exces

"Damn," "hell," "ass," "a--hole," "crap," etc.

Tie-in to vast quantities of related merchandise.

Some smoking, drinking, and hallucinogenic drugs e

Positive Messages

The movie's overall dark tone gives a sense that the world is a dangerous place, filled with people with bad intentions. There is an attempt to wrestle with the ideas of good and evil and whether the end justifies the means. But overall there is a sense that there are some heroes in the world who are willing to sacrifice themselves for the greater good.

Positive Role Models

Batman is obviously a hero. He fights for justice and fairness, though his tactics are sometimes just as violent or sneaky as the bad guys'. He is a flawed character, but that's what makes him so compelling. One character seems like a good guy at first, but ends up being a scary villain.

Violence & Scariness

Some violence is harshly rendered, with sharp, fast editing. Martial arts, gunplay, references to the murder of the hero's parents which he witnessed as a child. Some scary imagery.

Did you know you can flag iffy content? Adjust limits for Violence & Scariness in your kid's entertainment guide.

Sex, Romance & Nudity

Romance is implied (one kiss); one "playboy" excess scene, with girls in a pool.

Did you know you can flag iffy content? Adjust limits for Sex, Romance & Nudity in your kid's entertainment guide.

Did you know you can flag iffy content? Adjust limits for Language in your kid's entertainment guide.

Products & Purchases

Drinking, drugs & smoking.

Some smoking, drinking, and hallucinogenic drugs effects.

Did you know you can flag iffy content? Adjust limits for Drinking, Drugs & Smoking in your kid's entertainment guide.

Parents Need to Know

Parents need to know that Batman Begins features hard and fast violence, martial arts and shootings conveyed through dark, abrupt, sometimes scary imagery. Less cartoonish than the Spider-Man and X-Men movies, these scenes are loud and rough. The caped crusader's origin story includes the murders of his parents, his ensuing depression and attempt to shoot the shooter, martial arts training and fighting, frightening subjective images brought on by hallucinogenic drugs, brief debauchery (drinking, smoking, and swimming-in-a-hotel-fountain with vacuous starlet-types), an even briefer kiss with his romantic interest, a faux drunken speech, and some raucous driving in a seriously armored Batmobile. To stay in the loop on more movies like this, you can sign up for weekly Family Movie Night emails .

Where to Watch

Videos and photos.

Community Reviews

Parents say (41)
Kids say (230)

Based on 41 parent reviews

Incredible Start to the Trilogy

What's the story.

In BATMAN BEGINS, traumatized by the murder of his parents when he was a child, Bruce Wayne ( Christian Bale ) loses his way. When tempted to assassinate the man responsible, Bruce instead watches as someone else guns down his parents' killer. Wayne then disappears for several years. When others try to recruit Wayne to join them in destroying Gotham City, in order to destroy its evil, Wayne instead returns to fight for her and rid her of the evil within. He enlists the help of butler Alfred ( Michael Caine ) and Wayne Enterprises gadgets-maker Lucius Fox ( Morgan Freeman ) in order to create the "image" of Batman. Intended to intimidate villains, the new hero wears an elaborate Bat-costume and drives a frankly awesome Batmobile, a futuristic all-terrain military vehicle painted bat-black and capable of all manner of vehicular acrobatics.

Is It Any Good?

A meditation on the different motivations for violence, this is smart and entertaining, with some harsh action scenes. Bruce is full of grit and fury in Batman Begins , a well as grim arrogance and a sense of comedy.

Self-righteous, flagrantly emotional as well as coldly rational, Batman's sense of mission aligns him with last good cop Lt. Gordon ( Gary Oldman ). It also means his methods aren't always so distinct from the criminals', but he is effective, as deterrent and as what Gordon calls "escalation." Both villains and Batman can only do more.

Talk to Your Kids About ...

Families can talk about Bruce Wayne's relationships with various father figures in Batman Begins , including his biological father (who is murdered), his martial arts trainer, his butler, and his gadgets-maker.

What's the difference between vengeance and justice as the film presents it? Do you agree?

How does Bruce put his anger to use for the "public good"? How does the film differentiate between "good" and "bad" uses of violence ?

Movie Details

In theaters : June 15, 2005
On DVD or streaming : October 18, 2005
Cast : Christian Bale , Katie Holmes , Morgan Freeman
Director : Christopher Nolan
Inclusion Information : Female actors, Black actors
Studio : Warner Bros.
Genre : Action/Adventure
Topics : Superheroes
Run time : 141 minutes
MPAA rating : PG-13
MPAA explanation : intense action violence, disturbing images and some thematic elements.
Last updated : April 18, 2024

Did we miss something on diversity?

Research shows a connection between kids' healthy self-esteem and positive portrayals in media. That's why we've added a new "Diverse Representations" section to our reviews that will be rolling out on an ongoing basis. You can help us help kids by suggesting a diversity update.

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Metacritic reviews

Batman begins.

90 The Hollywood Reporter Kirk Honeycutt The Hollywood Reporter Kirk Honeycutt For Christopher Nolan to turn Batman Begins into such a smart, gritty, brooding, visceral experience is astonishing. Truly, Batman does begin again.
80 Empire Kim Newman Empire Kim Newman Significantly grittier than previous Bat-beginnings, this finds new things to do with, and say about, a character who's been around since 1938.
80 L.A. Weekly Scott Foundas L.A. Weekly Scott Foundas Of course, a Batman movie is nothing without a Bruce Wayne, and, by a mile, Bale is the best of a lot that has ranged from the square-jawed slapstick of Adam West to the more dedbonair stylings of Michael Keaton, Val Kilmer and George Clooney.
75 Rolling Stone Peter Travers Rolling Stone Peter Travers The buildup is steadily engrossing. That's because Nolan keeps the emphasis on character, not gadgets. Gotham looks lived in, not art-directed.
75 Boston Globe Ty Burr Boston Globe Ty Burr In Batman Begins, Christian Bale gives us the best Bruce Wayne that has ever graced the screen.
70 Variety Todd McCarthy Variety Todd McCarthy Ambitious, well made but not exactly rousing.
60 Village Voice Michael Atkinson Village Voice Michael Atkinson Nolan and his co-screenwriter David Goyer can only press the big buttons so hard—it's still an old-school superhero summer movie, the plotting tortuous, the characters relegated to one-scene-one-emotion simplicity, the digitized action a never ending club mix of chases and mano a manos.
50 New York Magazine (Vulture) Ken Tucker New York Magazine (Vulture) Ken Tucker Begins, at two-hours-plus, is a nonstarter.
50 The New Yorker David Denby The New Yorker David Denby The young Welsh-born actor Christian Bale is a serious fellow, but the most interesting thing about him--a glinting sense of superiority--gets erased by the dull earnestness of the screenplay, and the filmmakers haven't developed an adequate villain for him to go up against.
50 Time Richard Schickel Time Richard Schickel Nolan's effort is not dishonorable, but what it needs, and doesn't have, is a Joker in the deck--some antic human antimatter to give it the giddy lift of perversity that a bunch of impersonal explosions, no matter how well managed, can't supply.
See all 41 reviews on Metacritic.com
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Batman Begins

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7 January 2005 12:02PM

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Ebert & Roeper: "Batman Begins" Best "Batman" Film Ever

On their weekly syndicated show " Ebert & Roeper ," Roger Ebert and Richard Roeper gave early reviews of " Batman Begins ." They gave the film two thumbs way up.

Ebert, who didn’t like any of the previous "Batman" films, called it the best "Batman" film ever and one of the year’s best films. He thought it’s the first "Batman" film to get it "absolutely right"; It’s the "Batman" film that he’s "been waiting for and hoping for." Roeper, who loved the visionary first " Batman " film by Tim Burton , agrees; To him, it’s, by far, the best "Batman" film ever. You can access an audio version of this show on Monday at their official site .

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DVD & Streaming

Batman Begins

Action/Adventure , Drama , Sci-Fi/Fantasy

Content Caution

In Theaters

Christian Bale as Bruce Wayne/Batman; Liam Neeson as Henri Ducard; Michael Caine as Alfred Pennyworth; Katie Holmes as Rachel Dawes; Morgan Freeman as Lucius Fox; Gary Oldman as Lt. James Gordon; Cillian Murphy as Dr. Jonathan Crane; Tom Wilkinson as Carmine Falcone; Rutger Hauer as Richard Earle

Home Release Date

Christopher Nolan

Distributor

Warner Bros.

Movie Review

Tormented by memories of his millionaire parents’ murder by a petty thief (and wracked with guilt, believing it was his fault) young Bruce Wayne is raised by his loyal butler, Alfred.

As he matures, he bears the burden of smoldering wrath. But his quest for revenge gets frustrated when a twist of fate robs him of the chance to settle the score. How can he reconcile his rage and the legacy of benevolence and decency he received from his father? Bruce sheds his name and privilege, choosing to roam the globe and observe criminal behavior. It lands him in a Bhutanese prison. He is identified, freed, and trained in the arts of combat and stealth by Henri Ducard, an enigmatic member of the League of Shadows. Ducard’s dark fraternity of vigilante ninjas is committed to removing social cancers—including the rampant crime and corruption that is Gotham City. Bruce pledges to fight for the same cause, but not by destroying the city. He wants to save it.

Bruce returns home to Gotham aware that very few people are willing to stand against evil. One is Lt. Gordon, a beacon of integrity amid dirty cops. Another is his childhood friend Rachel Dawes, the Assistant District Attorney. (She can’t seem to keep criminals behind bars because the oily Dr. Crane always manages to get an insanity ruling that lands them in his asylum.) Also worthy of Bruce’s trust is Lucius Fox, a long-time employee of Wayne Enterprises—one of the few who hasn’t forsaken its founder’s altruistic vision in favor of globalization and shady military contracts. And, of course, there’s Alfred. With their help, and aided by a foreboding alter-ego, Bruce embraces his calling to rescue Gotham City as Batman.

With the success of the X-Men and Spider-Man franchises, Hollywood rediscovered the public’s hunger for comic book superheroes. But subsequent flops proved that audiences don’t care about empty computer-generated effects or mind-numbing action sequences. They want smart, character-driven stories with a moral core. Batman Begins understands this, and should appeal to the same crowd that propelled a certain web-slinger to big-screen success.

Positive Elements

As a boy, Bruce shares a warm, healthy relationship with his altruistic, socially conscious dad. Wayne Enterprises is driven to improve life for the city as a whole. We learn that Dr. Wayne even created an economical rail system to provide disadvantaged people with transportation, and that his ancestors helped slaves via the Underground Railroad.

When Bruce experiences a crisis, his father says, “Why do we fall? So we can learn to pick ourselves up” (a lesson repeated often and at key moments, much like Spider-Man’s mantra “With great power comes great responsibility”). When Bruce’s parents are killed, the boy is shown kindness by a police officer destined to become a loyal ally.

Alfred is patient and sacrificial, a loyal, respected servant who isn’t afraid to tell Master Bruce when he’s out of line. When Bruce expresses disregard for the fate of his name, Alfred insists, “It’s not just your name. It’s your father’s name. And it’s all that’s left of him.” Later, Bruce humbles himself, giving his coat to a homeless man and embarking on an anonymous journey of self-discovery without his fortune. Bitterness is deemed counterproductive (anger strangles grief until it turns into a self-defeating poison).

Meanwhile, Rachel stands up for what’s right despite risks. She distinguishes between justice and revenge, lecturing Bruce about selfishness and civic duty (“Justice is about harmony; vengeance is about making yourself feel better”). When he puts on the playboy act—meant to keep people from connecting him with the crusading Batman—her disappointment in what she thinks he has become doesn’t keep her from believing in his potential. She tells him, “It’s not who you are underneath, but what you do that defines you” and asks, “What chance does Gotham have when the good people do nothing?” Characters advocate perseverance, patience, confronting fear and “devotion to an ideal.”

Urged to kill a criminal, Bruce refuses (“I’m no executioner”). He seeks justice rather than revenge, and is committed to not killing his foes. Bruce risks his life to save a mentor from a fiery fate. Later, Alfred does the same for him. After processing his fear, hatred and grief, Bruce determines to show the city of Gotham that it doesn’t belong to the corrupt, criminal element (“I seek the means to fight injustice, to turn fear on those who prey on the fearful”). He’s convinced that wiping out the population like a malignant tumor isn’t the answer (“Gotham isn’t beyond saving; there are good people here”).

Spiritual Elements

The League of Shadows’ heartless Eastern philosophies fail to jibe with Bruce’s nobler sense of compassion and justice. While not overtly spiritual, this stark contrast supports a Christian worldview. Bruce feels called to show mercy to the people of Gotham, arriving in their evil midst, not to pronounce judgment but to redeem the city.

Sexual Content

Going out of his way to act like a wealthy playboy, Bruce visits a restaurant with two women on his arm who wind up frolicking in a nearby pool (bare shoulders shown). Sweethearts share a tender kiss.

Violent Content

According to director Christopher Nolan, “[Audiences] have gotten comfortable seeing fighting portrayed in this graceful, dance-like fashion to the point where the violence loses its threat. I wanted to take it back to a grittier place, where you feel the punches a bit more.” Hence the movie’s frequent barrages of hand-to-hand combat, most often employing tight, disciplined Keysi attacks. Whether taking on seven men in an Asian prison camp, engaging in brutal ninja-style combat while training under Ducard, or disabling bad guys in Gotham City, Bruce Wayne mixes it up early and often.

Arsonists begin to burn down an inhabited apartment building, and later Wayne Manor. Other specific instances of violence include the shooting of Bruce’s parents, the Jack Ruby-style assassination of an ex-con, and a public official being bludgeoned and shot in the back. A traumatic fall leaves a boy with a broken arm. Thugs beat up Bruce and dump him in an alley. Threats at gun- and knife-point are common, as are flurries of gunfire. A building gets blown to smithereens with assassins still inside. The destruction of property—including numerous police cars—occurs during a reckless, high-speed chase. Bad guys get head-butted, knocked cold (once by Alfred brandishing a nine-iron), sail out of windows, succumb to a taser and are trapped inside a fiery train wreck.

Crude or Profane Language

Just over a dozen profanities. Most are mild except for single instances of “a–hole,” “g–d—“ and an abuse of Jesus’ name.

Drug and Alcohol Content

Police make a drug bust. Central to the plot is a scheme to unleash a lethal airborne hallucinogen on Gotham City. A villain uses smaller amounts of this panic-inducing toxin to temporarily cripple foes, causing people to have blurred vision and trippy, sometimes grotesque hallucinations. (He eventually gets a taste of his own medicine.) A man attempts to kill a girl by administering a concentrated dose. Exposure demands that some victims be injected with an antidote. Men drink liquor. Alcohol is served at Bruce’s posh birthday party.

Other Negative Elements

Bruce admits that he stole food to survive, yet states that he never allowed himself to adopt the true character of a thief—logic that could lead young people to justify stealing under certain circumstances. Creepy hallucinations show a man’s burlap hood crawling with maggots.

Although the titular superhero does his best to subdue rivals using non-lethal means, Batman Begins is quite violent, and it runs to the darker end of the comic book spectrum. It also includes some profanity. Still, it falls responsibly into the PG-13 category, giving mature teens and adults a summer popcorn flick brimming with moral dilemmas and character issues sure to generate discussion. Just as director Sam Raimi took Spider-Man to new heights, Chris Nolan’s back story of the Dark Knight should please both avid fans and casual thrill-seekers alike.

“What’s always been fascinating about Batman,” says Nolan who also co-wrote the script, “is that he is a hero driven by quite negative impulses. Batman is human. He’s flawed. But he’s someone who has taken those very powerful, self-destructive emotions and made something positive from them. To me, that makes Batman an extraordinarily relevant figure in today’s world.”

I’ve enjoyed various incarnations of Batman throughout my life, from the campy ’60s TV series (all hail Cesar Romero!) to comic books and cartoons, and even the cheesy black-and-white matinee serials from the ’40s released to DVD earlier this year. But I have to admit, Bruce Wayne has never been the easiest character to identify with. Clark Kent? You bet. Peter Parker? Absolutely. Those guys exude a relatable, mild-mannered awkwardness. I mean, who hasn’t felt like a nerdy outsider forced to conceal his true identity? Then there’s Bruce. I’ve always found it harder to empathize with a sullen rich kid nursing a bat fetish … until now.

Batman Begins does a masterful job of making Bruce Wayne a more sympathetic hero without violating the legend. He still lingers in shadow. He still growls hoarsely, “I’m Batman.” However, we no longer see him as just an unfortunate boy who witnessed the senseless murder of his wealthy parents. With the gaps filled in, we now understand the fear and guilt that haunted him, and how even his thirst for revenge became frustrated before he got his moral bearings.

More than just informative, this new film is smart and subtly self-aware. The screenwriters weren’t lazy. They respected fans enough to make each development—from the birth of the bat cave to the outfitting of that utility belt—reasonably logical (including why Batman always seems to have a spare hood on hand). Where did the body armor come from? The bat signal? How does he fly? After Batman Begins I can even accept that a brooding millionaire could somehow possess the ninja skills to mix it up with members of the underworld.

Christian Bale is perfectly cast as the caped crusader. He has the presence, dry wit and smoldering intensity to make Bruce Wayne believable, whether he’s being tormented by personal demons, assuming the role of spoiled playboy, creating his cowled alter-ego or taking out the bad guys with brute force. It’s enough to make us forget Keaton, Kilmer and Clooney altogether. Bale has resuscitated an American icon and given new life to a franchise feared dead ever since Joel Schumacher put nipples on the batsuit. A final scene in this prequel could be connecting the dots to the 1989 film, or it may be setting up a brand-new sequel. I for one hope it’s the latter.

Bob Smithouser

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Batman Begins Review

16 Jun 2005

140 minutes

Batman Begins

As the title suggests, this sets out to be radically different from the series inaugurated by Tim Burton's Batman in 1989 and trashed by Joel Schumacher's Batman & Robin in 1997. Indeed, director Christopher Nolan gets even further than Burton from the camp of the 1960s TV show, to the point where you wonder how cartoonish Bat-foes like the Penguin could ever appear in Nolan's rusty, economically desperate Gotham City.

Whereas Burton sketched an Art Deco hell and shoved Michael Keaton on screen in a Bat-suit in the first minutes, Nolan puts off the moment when Christian Bale dons the mask for almost an hour. Influenced by the look and feel of the X-Men films, Batman Begins spends a lot of time in a world only just removed from reality before getting to the superheroics.The first act finds Wayne in a Chinese prison and a Himalayan monastery, transforming from bearded brawler to black-clad ninja as he flashes back to a lifetime of trauma that - in this version - began even before his parents' deaths, as he falls down a well and is terrorised by the bats which later inspire his night persona. Burton had Wayne's mom and pop killed by the hoodlum who would become The Joker, but Nolan reverts to earlier comics and makes the murderer a panicky no-one named Joe Chill, blurring the set-up so young Bruce and even Wayne Sr. (Linus Roache) must take some blame for the killings.

The Nolan who made Memento and Insomnia is at home with extreme psychological states - this might complete a Three Colours Of Neurosis trilogy by following memory loss and sleeplessness with phobia. It's certainly a smart move to cast the former Patrick Bateman as a Batman who always seems about to crack up. Bale even makes the old playboy-idiot act work, suggesting - as Michael Caine's dry Alfred notes - a man who needs to pretend to have fun because he might accidentally enjoy himself.

Batman maintains a secret identity, but he's recruiting an army for a war - forming alliances with Gordon (Oldman), the only honest cop in Gotham, and Wayne Enterprises' R&D man Lucius Fox (Freeman), while treating childhood sweetheart/Assistant D. A. Rachel Dawes (Holmes) as much as an informant as love interest (she takes the role played in comics by Harvey Dent, who becomes the disfigured villain Two-Face, suggesting a possible career-changing stretch for Holmes if this thread carries through).

With a city that looks less fantastical than Burton's, Nolan hits the streets and slums of Gotham to show a horrific escalation of evil that demands Batman's presence even as Gordon suggests he might make it worse; old-fashioned Mob guys (Tom Wilkinson) are edged out by masked freaks (Cillian Murphy, starily creepy even before he pulls on his Scarecrow hood) and a fanatical force run by the bastard sons of Fu Manchu and Osama bin Laden. Unlike Burton, Nolan doesn't skimp on action either, with brutal fights, vehicle chases and, in one great sequence, a mass escape from Arkham Asylum of serial killers and maniacs doped up with the Scarecrow's fear serum.

In terms of big-screen comic-adaptation triumphs, it's recently been Marvel who've been ahead (X-Men, Blade, Spider-Man); but, by learning several tricks from Marvel franchises, Batman Begins undoubtedly gets rival comics house DC back in the game.

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Batman Begins

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Release details.

Release date: Thursday 16 June 2005
Duration: 140 mins

Cast and crew

Director: Christopher Nolan
Screenwriter: David Goyer
Liam Neeson
Rutger Hauer
Gary Oldman
Cillian Murphy
Michael Caine
Katie Holmes
Christian Bale
Ken Watanabe
Morgan Freeman
Tom Wilkinson

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Batman Begins 2005

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Terry Lawson, Detroit Free Press : If you love Batman, then Batman Begins will the best Batman movie ever made. On the other hand, if you love Batman movies, Batman Begins may leave you wondering where the Joker went. Read more

Rene Rodriguez, Miami Herald : A mature take on material often relegated to the kiddie file, and it's simply the latest proof that, when treated properly, comic books are a viable art form for all ages. Bring on the sequel. Read more

Moira MacDonald, Seattle Times : A superhero saga grounded in the real world. Read more

Kyle Smith, New York Post : It's a wake-up call to the people who keep giving us cute capers about men in tights. It wipes the smirk off the face of the superhero movie. Read more

Michael Wilmington, Chicago Tribune : Nolan turns Batman Begins into something much closer to Miller's 'Dark Knight' interpretation than the glamorous, slam-bang Hollywood jokefests into which the series had slipped by Batman and Robin time. Read more

Joe Morgenstern, Wall Street Journal : Batman Begins summons up moments of great eloquence and power. If only its cast of characters was as fully inhabited as its turbulent city. Read more

Richard Roeper, Ebert & Roeper : This is the best Batman movie ever by far. Read more

Eleanor Ringel Gillespie, Atlanta Journal-Constitution : It's about the birth pains of a superhero, with the emphasis on those pains as much as on superheroism. Read more

Keith Phipps, AV Club : A rousing, reverent, often brilliant re-creation of a seminal comics character. Read more

Bill Muller, Arizona Republic : Finally, a Batman movie that's actually about Batman. Read more

Ty Burr, Boston Globe : In Batman Begins, Christian Bale gives us the best Bruce Wayne that has ever graced the screen. Read more

Kenneth Turan, Los Angeles Times : With Christian Bale in the title role, this is a film noir Batman, a brooding, disturbing piece of work that starts slowly but ends up crafting a world that just might haunt your dreams. Read more

J. R. Jones, Chicago Reader : For all the hype about exploring Batman's damaged psyche, Nolan and Goyer haven't added much beyond a corny opening in which he falls down a well and is attacked by bats. Read more

Eric Harrison, Houston Chronicle : Batman Begins is a remarkable movie. In making it, Nolan swept aside not only the other Batman films but the whole over-burdened shelf of previous super-hero flicks. Read more

Paul Clinton (CNN.com), CNN.com : Bale, in his first venture into superhero status, hits just the right balance between Bruce's uncertainty and the intensity of his alter ego. Besides, Caine and Freeman elevate any project in which they appear. Read more

Michael Booth, Denver Post : Here's a legend sometimes proved true: Sharp writing and thoughtful directing make the oldest tales seem new. Read more

Lisa Schwarzbaum, Entertainment Weekly : A confidently original, engrossing interpretation, with a seriously thought-through (but never self-serious) aesthetic point of view that announces, from the get-go, someone who knows what he's doing is running the show. Read more

Owen Gleiberman, Entertainment Weekly : It's not just the birth of Batman we're seeing in this triumphant interpretation, it's also the dawning of Gotham City's age of greed. Read more

Philip Wuntch, Dallas Morning News : Director Nolan remains true to his own vision, which is largely that of the original Batman comics. As a result, Batman Begins has a unity not often found in these extravaganzas. Read more

Scott Foundas, L.A. Weekly : [Bale plays] a Batman who, even demystified, still manages to cast a long, dark, mythic shadow. Read more

Gene Seymour, Newsday : Maybe, now that this version of the franchise has drained itself of explanatory residue, the next chapter will have more bounce. Read more

Ken Tucker, New York Magazine/Vulture : A nonstarter. Read more

Stephen Whitty, Newark Star-Ledger : It's all a little disappointing, particularly given the talents involved. Read more

Jack Mathews, New York Daily News : The earlier Batman movies were charades. With Bale, it's a biopic, filled with nuance, emotion and contradictions. Read more

Manohla Dargis, New York Times : What makes this Batman so enjoyable is how the director Christopher Nolan arranges familiar genre elements in new, unforeseen ways. Read more

Andrew Sarris, New York Observer : For all the effort and expense that went into this salvage job on an old, abandoned property, I would have preferred that Batman -- now past 66 years old -- be given his pension and sent on his way. Read more

Rex Reed, New York Observer : Batman Begins is for morons. Read more

Roger Moore, Orlando Sentinel : When you shine too much light, you take away the shadows. And without those, the Dark Knight is just a guy in a rubber suit mugging muggers. Read more

James Berardinelli, ReelViews : Christopher Nolan has gone back to basics, jettisoning both the silliness of the TV incarnation and the gothic and fetishist elements of the '90s version. This is a hard-core, down-and-gritty origin story. Read more

Roger Ebert, Chicago Sun-Times : Batman Begins at last penetrates to the dark and troubled depths of the Batman legend. Read more

Stephanie Zacharek, Salon.com : Batman Begins leaks existential phoniness from the first frame. Read more

Mick LaSalle, San Francisco Chronicle : There's just the pleasure of seeing something that's both fantastic to the eye and emotionally dimensional. This is how to make action movies. Read more

David Edelstein, Slate : Bruce Wayne's invention of Batman is the story of Batman Begins, and it's an epic one, with a suitably epic cast of A-list actors. Read more

Colin Covert, Minneapolis Star Tribune : If comic books must be a staple of our movie diet, please let them be as thought-provoking and thrilling as this. Read more

Joe Williams, St. Louis Post-Dispatch : Without the biff! bang! pow! of pop signifiers, this intelligent, well-made film is too heavy to transport us anywhere but down the dark hole of its good intentions. Read more

Christy Lemire, Associated Press : Nolan takes an admirable stab at developing a character-driven drama, only to give in to generic action-movie conventions with a blinding, deafening, explosion-laden finale that could have capped off any number of interchangeable Jerry Bruckheimer flicks. Read more

Liam Lacey, Globe and Mail : The action sequences feel like generic studio product, frantically and confusingly edited, and the lengthy Batmobile chase scene feels like a good opportunity to take the kids to the bat-room. Read more

Geoff Pevere, Toronto Star : Apart from the lumbering pacing and embalmed tone, the movie is densely forested with oaken dialogue, wasteful in its casting...and incoherently over-edited in its action sequences. Read more

Richard Schickel, TIME Magazine : [Nolan's] effort is not dishonorable, but what it needs, and doesn't have, is a Joker in the deck-some antic human antimatter to give it the giddy lift of perversity that a bunch of impersonal explosions, no matter how well managed, can't supply. Read more

Ben Walters, Time Out : The muscular grit of the action sequences is leavened with nicely judged sarky banter. Read more

Mike Clark, USA Today : No fan of cult director Christopher Nolan is going to regard this respectable effort as anything but a comedown from 2001's Memento. Read more

Todd McCarthy, Variety : There is talent and cleverness here, but not much excitement. Read more

Michael Atkinson, Village Voice : It's still an old-school superhero summer movie, the plotting tortuous, the characters relegated to one-scene-one-emotion simplicity, the digitized action a never ending club mix of chases and mano a manos. Read more

Ann Hornaday, Washington Post : A ponderous, deeply unironic psychological portrait with such a pervasive sense of gravitas that it borders on self-importance. Read more

Desson Thomson, Washington Post : Here's how any great franchise should start: with care, precision and delicately wrought atmosphere. Read more

Batman Begins (United States, 2005)

Of all the major comic book characters to transition to a less static visual media, none has been more mistreated than the Bat-Man. As originally envisioned by creator Bob Kane in 1939, Batman was a dark character who walked the tightrope between hero and vigilante. That was his image until the 1960s, when the campy TV series starring Adam West transformed the character into a silly-but-likable good guy in gray spandex. Tim Burton re-invented Batman for a surreal (and, at the time, highly anticipated) 1989 feature, but the movie ended up focusing more on The Joker, leaving the titular hero to lick his wounds as a supporting character. By the time that Batman series reached its third movie , it had fallen back to the campy level of its TV predecessor. Now, there's nothing wrong with camp, per se, but, by the 1997 arrival of Batman and Robin , fans had had enough. Batman looked dead, at least until now.

With Batman Begins , director Christopher Nolan has gone back to basics, jettisoning both the silliness of the TV incarnation and the gothic and fetishist elements of the '90s version. This is a hard-core, down-and-gritty origin story - the tale of, as one might reasonably expect, how Batman begins. It isn't intended as a "prequel" to the 1989 film - not only is Gotham City a completely different place, but key events of the Batman chronology are re-spun. Batman Begins is designed as the start of a new life, a reboot for the franchise. In the process, Nolan has not only crafted the best Batman movie, but arguably the second-best motion picture superhero narrative (topped only by the linked duo of Superman and Superman II ). For those who thought Spider-Man and X-Men had a lot to offer, wait till you see where this film goes.

Batman Begins takes us to the dark corners in the life of billionaire Bruce Wayne (Christian Bale), who is rescued from an anonymous Asian prison by the mysterious Henri Ducard (Liam Neeson). Bruce, who has been haunted by the memory of seeing his parents gunned down in front of him, has been wandering the world, picking fights with small-time thugs until Ducard finds him and offers him an alternative to his nomadic existence. Ducard wants to train Bruce so he can become a member of the League of Shadows, the organization presided over by Ra's Al Ghul (Ken Watanabe). The League of Shadows is dedicated to restoring "balance" to a world in which "criminals thrive on the indulgence of society's understanding."

Bruce's training under Ducard is physically demanding, but it transforms the young man into a living weapon. Along the way, Ducard frequently sounds like a Star Wars Sith Lord as he imparts nuggets of wisdom such as "Your anger gives you great power" and "Your compassion is a weakness." In the end, Bruce breaks with the League of Shadows so he can return to his native Gotham City and fight the burgeoning crime wave there. Aided by his faithful butler, Alfred (Michael Caine); a Q-like inventor named Lucius Fox (Morgan Freeman); one of the city's few good cops, Jim Gordon (Gary Oldman); and a childhood friend-turned-assistant DA, Rachel Dawes (Katie Holmes), Bruce sets out to bring justice to Gotham. He decides to do this not as Bruce Wayne, but as a sinister alter-ego. And, at the beginning, he has two dangerous enemies to face: the city's crime lord, Carmine Falcone (Tom Wilkinson) and a demented psychiatrist who calls himself The Scarecrow (Cillian Murphy).

To tell this first story of Batman, Nolan and co-screenwriter David Goyer weave established elements of the Caped Crusader's history into a coherent tapestry that includes material of their own devising. We see what prompts Batman to choose his image, how the Batcave is developed, where the suit and utility belt come from, and what the secret of the Batmobile is. Rather than de-mythologizing Batman, this provides us with better understanding of who he is and what motivates him - aspects whose absence were glaringly evident when Tim Burton brought his vision of the superhero to the screen 16 years ago.

Of the five well-known actors to don the cape and cowl (Adam West, Michael Keaton, Val Kilmer, George Clooney, Christian Bale), there's little doubt that Bale is the most talented and the most effective. We believe him as both Bruce Wayne and Batman and, while in the latter role, he seems more than just a face behind the mask. In order to play this part, Bale had to gain about 85 pounds (re-acquiring the 65 pounds lost from his work in The Machinist and putting on an additional 20 pounds of muscle). Keaton, Kilmer, and Clooney allowed the costume to dominate their performances. Here, it's the other way around. Bale comes close to being the definitive Batman.

He is surrounded by an exceptional supporting cast, with Oscar-winners Michael Caine and Morgan Freeman leading the way. Also on hand are Gary Oldman, playing against type as a good guy; Tom Wilkinson, chewing a little on the scenery; Ken Watanabe, who barely speaks a word; and a chilling Cillian Murphy. Katie Holmes has the thankless role of the "love interest" - one of the few elements of Batman Begins that doesn't work. Holmes and Bale never "click" (at least not in the way that Christopher Reeve and Margo Kidder did in Superman , or Tobey Maguire and Kirsten Dunst in Spider-Man ), and her character feels superfluous - just a damsel in distress.

Although there's less of a stylized noir feeling to Batman Begins that there was to Batman , Nolan nevertheless keeps things dark, since bats hunt at night. The action scenes are, for the most part, kinetic and exciting - things that have rarely been true of fights and chases in the superhero's previous incarnations. Burton was at a loss how to do action, and Schumacher was perfunctory. Nolan understands how to elevate the adrenaline level, with interesting camera angles, strong editing, and effective special effects work (light on CGI and heavy on models and working gadgets) all contributing.

Batman Begins is a strong re-start to a franchise that deserves better than it has often been accorded. The ending provides a direct lead-in to another Batman movie, and Nolan is on the record as saying he envisions making a trilogy. The next installment is probably three years off, but, in the meantime, we have Bryan Singer's re-invention of Warner Brother's other DC goliath, Superman Returns . If Singer can do for Superman what Nolan has done for Batman, then the summer of 2006 will have at least one film to anticipate.

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Movie Review: Batman Begins (2005)

General Disdain
Movie Reviews
9 responses
--> July 7, 2005

Finally, a rendition of Batman that most fans of the comic book would be proud of. At least that was the hope I had when I finally sat down to watch Batman Begins .

Let’s start where the producer’s of Batman Begins got it right. Without a doubt, they nailed the persona of Batman. From the telling story of a troubled Bruce Wayne, to the compassionate, vengeance driven caped-crusader, this movie lays it all out in a well defined manner. Every nuance of what drives Batman is explored. Finally. Next up, the gadgets. We’ve all wondered “where the fuck does he get all those cool weapons and vehicles.” Now we know where they come from, what they’re made of and how they work. Now they’re more than just a prop that he pulls out of his ass to save the day. Another plus is the Gotham cityscape. It is detailed. It is foreboding. Gotham City is explained and presented to the viewer like a living, breathing object. Lastly, Christian Bale, enacts a convincing Bruce Wayne. I felt sorrow for him. I applauded his heroics. The casting directors got it right.

By now, however, I’m sure your saying to yourself, “If the movie is this good, what could possibly be bad about it?” Right? Well there are a few things that irritated me, in a major fucking way. The beginning of the movie takes way too fucking long to develop. I honestly thought I was watching “ Star Wars: Episode III – Revenge of the Sith ” again . . . only with Ducard (Liam Neeson) giving tutelage to Bruce Wayne instead of Obi-Wan teaching Anakin. I understand the need to develop the character, but taking 3/4 of the movie to do it, is just over-fucking-kill. Also, Katie Holmes is atrocious. She adds zero value to the movie. And holy-crooked face Batman, she is not a pleasure to look at! Thank goodness, Bruce Wayne does not hook up with her. The casting directors I previously congratulated, fucked up here. Royally.

What does this mean? Not much in the scheme of things. Batman Begins is undoubtedly the best movie of the franchise (although the Michael Keaton “Batman” was a pleasure to watch too). I think the producers have themselves setup quite well for a sequel (I would love to see who plays the Joker).

Tagged: comic book adaptation , Gotham City , vigilante

I'm an old, miserable fart set in his ways. Some of the things that bring a smile to my face are (in no particular order): Teenage back acne, the rain on my face, long walks on the beach and redneck women named Francis. Oh yeah, I like to watch and criticize movies.

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'Movie Review: Batman Begins (2005)' have 9 comments

July 15, 2005 @ 9:09 am Mr. Fuchsia

Hmm…you give the movie an A+, yet you find flaws with the casting and admit the beginning of the movie was indeed a bit drawn out? I’ll also agree with you that the movie does chronicle the Batman graphic novels quite well. . .this doesn’t mean however, that his training in Asia has to take up 3/4 of the movie. Also, I might add, my comparison with Star Wars is dead on. One can interchange the characters from the beginning of both movies and they wouldn’t skip a beat. As I said before, this movie is the best of the Batman series (if you can call it a series). I undoubtedly think the sequel to this will be demonstrably better.

July 15, 2005 @ 10:56 am Nashtradomus

Let me paraphrase what I wrote. I said “She doesn’t hurt the film, but a more polished adult actress may have been a better fit”. One of last lines in my review states that this movie is picture perfect and hence the A+. I don’t know how much clear can I be on why you cannot compare Star Wars to Batman. There was a reason why Ducard (Liam Neeson) came to Asia looking for Bruce Wayne, he wanted to lure Wayne into his ultimate goal of destroying Gotham City. The reason he wanted Bruce Wayne for this ultimate goal was because of his previous failure in doing that because Bruce Wayne’s father was in the way of getting it done. He thought the best way to do that was to lure him into making him believe that Wayne can be a better human. In Ducard’s judgement he thought by having a mentor-apprentice relationship, he can have this task done in a smooth manner. I for one don’t see any similarity in the scenes except for the mentor-apprentice relation as a common thread.

July 15, 2005 @ 1:34 pm Mr. Fuchsia

The movie is not picture perfect. You say so yourself, by pointing out several areas in which the movie could have been better. . . The similiarities between Stars Wars and Batman lie with the whole master/apprentice relationship, not with the why the master sought him out. Lets review: Star Wars : Jedi Master Batman : Ninja Master Star Wars : Cheesy lines about how the Jedi are there for the good of the universe Batman : Cheesy lines about how the Ras al Ghul are there for the good of the world Star Wars : A padawan who breaks the Jedi code Batman : A ninja apprentice who breaks the Ras al Ghul code Shall I continue. . .?

July 15, 2005 @ 8:57 am Nashtradomus

Let me start out by saying that this movie was 100% certified f**king great movie! Now that I have let out my bottled up enthusiasm, let me go ahead with the rest of my views about this celluloid masterpiece. As someone who had collected and read Batman comics as a child, let me come out and say that they got it right this time. Batman Begins first finds millionaire Bruce Wayne (Christian Bale) in Asia where he is searching for answers about the criminal mind as well as answers about the guilt and anger he feels inside. Through flashbacks, we soon see Bruce as a child witnessing the gruesome murders of his parents. Unusual circumstances prevent Bruce from avenging their death sending him on his quest to Asia. While there, Bruce begins training with a dangerous ninja cult leader known as Ra’s al Ghul. Bruce soon returns to Gotham and finds that it is overrun with crime and corruption. He assumes a secret identity after discovering a cave under his home, and Batman begins. The cast for the film is almost flawless, except for the one question, what were they thinking when they opted for Katie holmes?! The roles were all filled with capable, high caliber adult actors, and Holmes simply comes across as a child playing dress up. She doesn’t hurt the film, but a more polished adult actress may have been a better fit. Personally I think that Bale was picture perfect for Batnman character. Now having said that, I would like to point out at the comments mentioned by Mr.Fuchsia, the beginning of the movie could have been a little drawn out, but I think it was done tasteful and when you are watching it for the first time, you do not notice how fast the scenes slip by. I also feel that the director had to neccessarily fit in those scenes so we know exactly why Ra’s Al Ghul came after Bruce Wayne and what his orginal intentions were as we later on see the explanation for his previous act. All in all, I don’t see any fatal flaws in the movie. To make a comparison that this was similar to Star Wars is unacceptable. The ninja training on the other side of the world is influenced from several of highly-acclaimed Batman graphic novels including Frank Miller’s “Batman: Year One” which came out and was very popular in the late 80s/early 90s. It tells of the “missing years” where Bruce went off to learn his fighting skills and more in different parts of the world. The film touches on that here. It just so happens that Liam Neeson had to play the role of the teacher. My final word on the movie is that this movie is by far the best amongst the franchise. Ladies and gentleman, this is the year of the Bat. Treat yourself to movie with a quality and class and pure exhiliration that you haven’t seen a long time. Batman Begins!!! I rate this movie A+

July 21, 2005 @ 11:04 am Mr. Fuchsia

It certainly does. However, as you point out so eloquently, Matchstick Men and Silence of the Lambs are a different shade of mentor-apprentice movies. Star Wars and Batman practically match up point for point. . . Close. . .but no cigar for you.

July 21, 2005 @ 11:19 am Nashtradomus

I think you are getting blindsided by the fact that you want to point out similarities and not looking at the entire “picture”. As I have explained in my previous posts, the story of these two movies are completely different. These sequences in which the master – apprentice relationship builds up in these two movies are not under the same circumstances. In one of them the reason the master chose to take up as an apprentice was because for the fact that the apprenctice has the possibility of becoming the chosen one. In the other one, the reason the master wants to take the up the apprentice was because he can use the apprentice for his ultimate goal. Do you see the fine difference now?

July 21, 2005 @ 10:44 am Nashtradomus

These smililarities you are pointing out can be found in different shades in other movies as well. To name a few,

Matchstick Men : Roy Waller (Nicholas Cage), a seasoned con-man and suffering phobic, is teaching his protege, Frank Mercer (Sam Rockwell), to become the con-artist he has excelled at his entire life. However, the teacher-apprentice relationship backfires when Waller gets conned at his own game. Silence of the Lambs: John Hopkins (Hannibal) acts as a mentor in trying to help Jodie Foster (Clarice Starling) catch the psychopath, but in the end Clarice would only act the way she is to win the confidence of Hannibal and nothing more. Also foreign movies like “Crouching Tiger…” and “The Hero” orginally chinese movies which got released in US under english subtitles had similar plotlines. The list goes on….

July 22, 2005 @ 7:22 am Mr. Fuchsia

And in another movie somewhere, the master takes up an apprentice cause he wants to have sex with him. So what? The reasons behind the mentoring don’t matter. What matters is, you can mix and match the characters of Star Wars and Batman and not miss a beat.

February 7, 2012 @ 6:36 am Ian Grant

The movie an A+++,It does not get any better

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Batman Begins

By Peter Travers

Peter Travers

Shake off those cobwebs. There’s a new Batman in town, and he’s younger, fiercer and klutzier than before. What do you want from a rookie? The Caped Crusader that Christian Bale plays so potently in Batman Begins is still working out the kinks. He nearly gives himself a wedgie scaling a building in a self-designed Batsuit that weighs a stylish ton. Director Christopher Nolan, who wrote the script with David Goyer, shows us a Batman caught in the act of inventing himself. Nolan is caught, too, in the act of deconstructing the Batman myth while still delivering the dazzle to justify a $150 million budget. It’s schizo entertainment. But credit Nolan for trying to do the impossible in a summer epic: take us somewhere we haven’t been before.

This stripped-down prequel grounds the story in reality. If Tim Burton lifted the DC Comics franchise to gothic splendor and Joel Schumacher buried it in campy overkill (a Batsuit with nipples), then Nolan — the mind-teasing whiz behind Memento and Insomnia — gets credit for resurrecting Batman as Bruce Wayne, a screwed-up rich kid with no clue about how to avenge the murders of his parents.

Batman Begins answers a long-standing question about Bruce the tycoon playboy — a Paris Hilton with balls as previously played by Michael Keaton, Val Kilmer and George Clooney — by showing us what he was doing before he put on his Bat drag, accessorized with lethal toys and learned to kill like a vigilante.

If you expect Batman to flap his cape the second you sit down with your popcorn, snap out of it. Nolan wants us to know the real Bruce. At age eight, Master Wayne (Gus Lewis) falls into a well filled with bats and freaks out. The bats represent his deepest fear. Bruce later dumps Princeton and his virginal Rachel (Katie Holmes — OK, Tom Cruise, t raving) and heads for the Himalayas to toughen up. He’s tossed into prison and is rescued by Ducard (Liam Neeson, with a funny accent), who ninja-trains him. Ducard is a member of the League of Shadows, led by evil genius Ra’s Al Ghul (Ken Watanabe).

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Seven years pass, and Bruce is still Bruce. Back in Gotham, he learns from the family butler, Alfred (Michael Caine purrs with warmth and humor), that he’s been declared dead and that the CEO (Rutger Hauer) has taken over Wayne Enterprises. To get it back, Bruce teams up with Lucius Fox (a wily Morgan Freeman), a company scientist who specializes in military body armor (think Batsuit) and designs a car that looks like a tank (think Batmobile). That’s when Bruce asks Lucius if the car comes in black. Fans can now feel free to go batty.

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The buildup is steadily engrossing. That’s because Nolan keeps the emphasis on character, not gadgets. Gotham looks lived in, not art-directed. And Bale, calling on our movie memories of him as a wounded child ( Empire of the Sun ) and an adult menace ( American Psycho ), creates a vulnerable hero of flesh, blood and haunted fire. Bruce’s blood may be too hot for Rachel, now an assistant DA. She fumes when Bruce frolics with seminaked models. Look, honey, a secret identity takes work.

The Bat earns his wings soon enough. He enlists an honest cop, soon-to-be commissioner Gordon (a goodie Gary Oldman — huh?) to help him rid Gotham of Carmine Falcone (overhammed by Tom Wilkinson), a crime lord with connections to the Waynes’ murders. Like any movie with a surfeit of villains, none of them stick. Cillian Murphy comes closest as Dr. Jonathan Crane, a skinny shrink they call Scarecrow when he puts a burlap bag on his head. Each person sees his own worst fears come to life when they gaze at the bag. The low-budget headgear is typical of a movie that succeeds best when it hews to the rule of less is more. Beginner’s luck evaporates when Nolan ends with a tricked-out car chase and a doomsday plot about a poisoned water supply. Nolan’s too good for Bat business as usual. His secret for making Batman fly is as basic as black: Keep it real.

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The Definitives

Critical essays, histories, and appreciations of great films

Batman Begins

Essay by brian eggert july 6, 2008.

After training in the arts of deception, theatricality, and mass engagement in the Himalayas with clandestine ninjutsu vigilante group The League of Shadows, young Gotham City billionaire Bruce Wayne returns home after a long absence. On his private jet back, he lays out the foundations of a plan to his family’s loyal servant Alfred about how he intends to use his money and newfound abilities to fight injustice: “I’m going to show the people of Gotham their city doesn’t belong to the criminals and the corrupt… People need dramatic examples to shake them out of apathy and I can’t do that as Bruce Wayne. As a man, I’m flesh and blood. I can be ignored. I can be destroyed. But as a symbol… As a symbol, I can be incorruptible. I can be everlasting.” Herein is the central theme of Batman Begins , a film not about a superhero, but about a man who uses his considerable means to transform himself into a symbol.

Written by David S. Goyer and director Christopher Nolan, Batman Begins transforms the superhero genre and transcends its limitations with a film that is a moving, emotionally involving, and exciting experience. It begins with the formation of an idea. And indeed, the conceptualization of Batman since the character’s inception has undergone innumerable adjustments and renovations over his nearly seventy years in comic books, television, and film—from vigilante to detective, from campy hero to public enemy, from Caped Crusader to The Dark Knight. Batman Begins reinvents the iconographic comic book character in near-operatic terms, finally actualizing the depth and emotional potential that remained untapped through so many adaptations. Nolan, drawing heavily from continuities shaped by Frank Miller and Bruce Timm, erases decades of mediocre superhero moviemaking and elevates Batman to a potent source for dramatic, symbolic storytelling.

Created by Bob Kane and Bill Finger for DC Comics in 1939, Batman first appeared in Detective Comics , issue #27. Unlike contemporary heroes such as Superman, Kane’s creation had no uncanny powers, just human endurance and initiative, wealth and intelligence. Perhaps this is why Batman remains so appealing; he represents the limit of human potential. Those limits are superhuman to be sure, though so rarely tapped by the populous. Kane originally conceived the “Bat-Man” with a domino mask, stiff wings attached to the arms, and red tights. His design was later re-envisioned by Finger for a more ominous look: no exposed skin but his mouth, a cowl, gloves, a flowing cape in which he could wrap himself like a gargoyle, and glowing, bat-like eyes. While Kane negotiated a byline “Created by Bob Kane” when he signed his character over to DC, Finger was left uncredited in spite of his significant contribution, which even included selecting the name Bruce Wayne as the hero’s alter-ego. Only after Finger’s death in 1974 did DC acknowledge the writer’s ongoing development of Batman and a number of the comic’s quintessential villains.

Following this notion, Nolan and co-writer Goyer begin their mythology with Wayne, played with appropriate gravitas by Bale. The film opens with Wayne, who has willingly condemned himself to a Far East prison, where he trains his body and mind in combat against hardened inmates. Having resolved to fight the criminality inherent in Gotham’s underworld, he has traveled the world learning the nature of the criminal and meanwhile struggles to center his emotions. They need centering, he finds, after his parents’ murderer is released from prison by becoming an informant; Wayne plans to assassinate the killer, but his plan is foiled when the mob takes Chill down first. Consumed by unfocused anger, weakened by guilt, Wayne escapes his pampered billionaire lifestyle to understand his enemy, landing himself in the Asian prison. Here, future sensei and father figure to the parentless Wayne, Henri Ducard (Liam Neeson), arrives in Wayne’s prison cell and offers to teach Self-mastery and fear control so he might become an invisible, unstoppable force: the way of the League of Shadows, led by mysterious figure Ra’s al Ghul (Ken Watanabe). Wayne’s already considerable martial arts skills are perfected, but only so he might become more than a mere living weapon: an idea.

Even as he becomes this idea, there is still a very human conflict inside him. Nolan presents Bruce Wayne as a shattered individual who has, in a way, consciously constructed a split-personality for himself when he becomes Batman, all as a result of his childhood trauma. During his training, he seems preoccupied with instilling a replacement father figure in Ducard. But ultimately he refuses the League’s final test of his loyalty when he’s asked to kill a local thief; and after, a moral cleansing of Gotham City on a citywide scale. The League intends to help along Gotham’s path of self-destruction; this is something they’ve done for centuries, from Rome to London. When a city’s time comes, they drop the blade. In rebelling against The League and Ducard, Wayne has accepted that he no longer needs to dwell on his absence of a father figure. He no longer needs one. His paralyzing childhood dread of bats surmounted, his anger and guilt better understood, Wayne can now become an emblem of fear. Following his own ideals, Wayne splits from his mentor Ducard, and returns to Gotham to become its protector.

Hundreds of millions in revenue notwithstanding, Warner Bros. produced four films and four resultant artistic disappointments that failed to penetrate the Batman story’s potentially vast personal drama; instead, each seems preoccupied with design and style: In 1989, Tim Burton filmed Batman , a movie that feels hollow and dated by an awkward soundtrack by Prince, a near-useless Commissioner Gordon, and Jack Nicholson playing himself decorated as the Joker. But its success inspired 1992’s improved (and sexually charged) sequel Batman Returns , which fosters the childhood wounds of Danny DeVito’s The Penguin more than its hero’s, and a sexy Catwoman courtesy of Michelle Pfeiffer. From there, director Joel Schumacher took over the franchise, returning in 1995 with Batman Forever to a child-friendly tone reminiscent of the ‘60s show. Saturating every moment with neon and alternative music for the MTV generation, Schumacher’s first crack at Batman is colorful but brainless, his interpretations of Riddler and Two-Face laughably out of character, if not (insultingly) likened to the Joker. Beating the franchise nearly to death was Batman & Robin in 1997, Schumacher’s stupid, overstuffed farce packed with far too many characters, cheeky puns, and Hollywood names. Almost everyone involved, including Schumacher and star George Clooney, now admit fault for nearly collapsing the franchise with their living cartoon, initiating an eight-year coma for Batman on the silver screen. Warner Bros. hired writer after writer for potential franchise relaunches; among them an adaptation of Miller’s Year One directed by Darren Aronofsky and Batman vs. Superman by Wolfgang Petersen. None came to fruition.

While Batman Begins has received much praise for its realistic approach to the superhero’s birth, this supposed “realism” exists above all in its emotional treatment of Wayne and his clumsy growth into Batman. The film is about a man dressed up as a bat, after all. Nolan’s construction of Batman’s arsenal of gadgets and weapons comes without the polish of previous films, most deriving from abandoned prototypes by Wayne Enterprises’ Applied Sciences Division: his Batmobile was made to assemble bridges; his impenetrable Nomex suit was intended for military body armor; his cape lightweight “memory cloth” that hardens for gliding-flight during parachute drops—all reformatted from practical items, versus the hero inexplicably constructing futurist gizmos from scratch (and thus, finally responding to that long-unanswered question, “Where does he get those wonderful toys?”). Even the Batcave remains just a cavern, to be redecorated in future sequels. His first forays into Gotham City are not without punishing results, leaving him bruised and burned from the learning process. The painful and human reality of his night stalking physically marked, audiences see Batman’s fear-inducing presentation evolve; as a result, we are so much more involved when his theatricality succeeds and sends criminals screaming into the night.

When treated with the lofty ambitions Nolan sets down here, though rare, the comic book film can become high cinematic art. Batman Begins is the launching pad for that movement, although no other filmmaker—outside of Nolan himself—has outdone what he achieved here. Nolan does so by combining his technical mastery with his gift for supplying narrative rich with symbolic storytelling. The themes running through the film create a character whose origins seek to discover what it means to be a superhero, but also what it takes for “just a man” to become a superhero. From his self-imposed moral guidelines, a human being becomes an emblem from which an entire city draws the will to change and force out injustice. In doing so, the figurehead of Batman emphasizes a basic human need for symbols, while Batman Begins explores that theme in a thoughtful, exciting, expertly made motion-picture.

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Screen Rant

Morgan freeman's 10 best movies, ranked.

Morgan Freeman has been acting for 60 years, and in that time, he has managed to create an impressive body of work with incredible performances.

Morgan Freeman's powerful performances in films like Glory showcase his ability to embody noble characters and command the screen with authority.
From his breakout role in Street Smart to his Oscar-winning performance in Million Dollar Baby, Freeman's range and talent have solidified his place in Hollywood.
The Shawshank Redemption stands out as Freeman's best film, where his portrayal of Red alongside Tim Robbins creates an unforgettable story of hope and friendship.

Morgan Freeman is a remarkable talent in Hollywood, with around 150 acting credits, but several of his films are a cut above the rest. Freeman's first acting roles were back in the 1960s, where he had multiple uncredited roles. It wasn't until 1969, when Freeman appeared in a single episode of New York Television Theatre, that he received his first official acting credit, and decades later, in 1987, when he landed his breakout role in Street Smart . Freeman then continued to build a successful career, appearing in major motion pictures, directed by the biggest names like Christopher Nolan and Clint Eastwood.

Freeman is widely recognized for his distinctive deep voice and ability to deliver commanding and authoritative performances. Throughout his career, Freeman has earned an impressive number of accolades, including an Oscar for his performance in Million Dollar Baby , with a further four nominations for some of his other most notable projects. His reputation and body of work speak for themselves, with his best performances of all time having a wide range throughout his career since his breakout.

10 Glory (1989)

As john rawlins.

While Civil War movies are rare, Glory stands at the top of the subgenre with a powerful story led by an amazing cast. The movie is important historically as it conveys the true story of this regiment and their contributions to the wider War , despite opposition from both sides bearing down on them. Freeman played John Rawlins, a noble soldier in the regiment who becomes something of a leader and voice of reason among the other soldiers.

It is a gripping and thrilling history lesson about these heroes of the American Civil War who should not be forgotten. While Matthew Broderick stars as a man put in charge of the regiment, it is the supporting cast that really elevates the movie with stirring performances from Freeman, Andre Braugher, and Denzel Washington in his first Oscar-winning role as a runaway slave turned dedicated soldier.

9 Gone Baby Gone (2007)

As captain jack doyle.

Gone Baby Gone is a complex crime mystery movie directed by Ben Affleck in his directorial debut . Based on the crime novel by Denis Lehane, the movie stars Casey Affleck as a private detective who is hired by a family to find a young girl who has gone missing. Freeman plays the police captain, Jack Doyle, whose own family tragedy fuels his desire to solve the case even if he is less than pleased to have to work alongside inexperienced PIs. film unpacks the

Ben Affleck shows his considerable skills as a director, crafting a dark, engrossing, and intense crime story with Boston as the heart of the tale. Casey Affleck makes for a compelling lead and he has a strong supporting cast including Freeman, Ed Harris, and Amy Ryan in an Oscar-nominated role. Freeman's part exemplifies the movie's interesting and complicated moral dilemma at its center.

Morgan Freeman: His 5 Best & 5 Worst Roles (According To IMDB)

8 street smart (1987), as leo "fast black" small.

Freeman's breakout role was Street Smart , a film starring Christopher Reeve as a journalist who needs a big story to secure his future . When he accidentally writes a scandalous story that appears to have a lot in common with a dangerous criminal, he's hunted by the police to learn what he knows and how. Freeman plays the notorious Leo "Fast Black" Smalls, a pimp who isn't afraid to exercise violence to get his way.

In more recent projects, Freeman often plays a good guy, but exploring his roots and the darker side of his performances is a must for fans. Reeves makes for a great everyman hero, especially in comparison to his role as Superman, but Freeman is the real reason to watch the movie as his Oscar-nominated role is alluring and frightening all at once.

7 The Dark Knight (2008)

As lucius fox.

Freeman played a significant part in the Christopher Nolan Batman trilogy as Lucius Fox , the man responsible for much of Bruce Wayne's tech and vehicles. While Batman Begins kicked off the trilogy in a refreshingly grounded way, The Dark Knight took things to the next level with Nolan crafting an epic crime saga with Batman taking on the anarchist villain, Joker.

During the second entry in the series, Fox is the acting CEO of Wayne Enterprises and continues to be a part of the team providing support and guidance to Batman. He is one of the small parts Nolan fits together to create a massive and brilliant story of the battle for Gotham's soul between Joker's unstoppable force and Batman's immovable code. The movie changed comic book movies forever and cemented Nolan as a fan-favorite director with an ambitious vision.

6 Lean On Me (1989)

As joe louis clark.

Another film based on a true story, Lean on Me , sees Freeman take on the role of Joe Clark, a principal of an inner-city school that is being threatened with closing down unless the grades of the students improve. With the futures of these young people on the line, Clark takes drastic and unconventional methods to get the kids motivated about their schoolwork.

Freeman's ability to deliver an emotionally charged performance and wrap it up in a strong, authoritative exterior comes into play in major ways for this film. Clark makes for a complex and grounded hero for the story with Freeman making him human rather than just a feel-good cliche. Despite his strange methodology, Clark's love and care for the kids come out in powerful ways that make this film one of Freeman's best.

5 Se7en (1995)

As william somerset.

The formula of the old cop near retirement and the young hothead detective coming to replace him is given a dark reimagining in the serial killer thriller Se7en . Morgan Freeman steps into the role of the more experienced detective in Se7en alongside Brad Pitt's young Mills. When the pair attempt to track down a killer, they both use distinctive approaches to try and apprehend the murderer who is killing people based on the Seven Deadly Sins.

While Pitt's character is impulsive and energetic, Freeman delivers a more methodical and intentional performance as Detective Somerset. His trademark voice lends weight to everything he says in this film and, combined with the religious elements, Freeman becomes the voice of reason and hope in the face of brutality and suffering. David Fincher's dark and cynical thriller is an unforgettable experience and Se7en 's shocking ending remains one of the most memorable in movie history.

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4 million dollar baby (2004), as eddie "scrap-iron" dupris.

After a long and acclaimed career filled with three previous nominations, Morgan Freeman won his first Oscar for Best Supporting Actor when reteaming with Clint Eastwood. Million Dollar Baby follows a story that revolves around Frankie Dunn (Clint Eastwood) an old and cranky boxing coach who reluctantly begins to train his first female fighter, Maggie Fitzgerald (Hilary Swank) , with Freeman playing a supporting character and the narrator for the movie.

Freeman's impressive voice almost certainly shaped his role in the film and, while he acts as the quiet and loyal friend who helps out at Frankie's gym, he frames the story for the audience. Freeman again delivers a powerful performance as he shapes the story which is a powerful and inspiring sports story that morphs into a touching tale of a surrogate family only to take a tragic turn in the third act, leaving the audience with a powerful experience.

3 Driving Miss Daisy (1989)

As hoke colburn.

Morgan Freeman earned his second Oscar nomination for his performance in the comedy-drama Driving Miss Daisy . The movie finds Freeman playing Hoke Colburn, a charming and friendly driver who is hired to chauffeur a stubborn and largely unpleasant Jewish widow, Daisy Werthan (Jessica Tandy) . The movie covers 20 years of events, as the relationship grows from resistance and contempt to a genuine and moving friendship.

Despite winning Best Picture, Driving Miss Daisy has earned a reputation as one of the worst movies to earn that award while also receiving criticism for aging so poorly. While it is certainly not as deep in its exploration of race relationships as it pretends to be, the movie can be enjoyed as a movie about an unexpected friendship with Freeman and Tandy's relationship elevating the material with their charming chemistry.

2 Unforgiven (1992)

As ned logan.

Unforgiven marked the first time Morgan Freeman collaborated with Clint Eastwood while also being the final Wester movie for Eastwood after a long career as one of the genre's biggest icons. Eastwood plays Bill Munny, is a retired gunslinger now living as a widower on his farm with his children. He comes out of retirement to take on a job, hunting down a group of men who abused a sex worker and he brings along his old friend, Ned Logan (Freeman).

Freeman's role in the film is quiet but powerful. With few lines of dialogue and not a great deal of screen time, Freeman delivers a performance that helps to propel the events of the movie forward. The movie itself is a brilliant subversion of the Western genre as well as the typical revenge tale which serves as a perfect ending to Eastwood's career as a Western hero. He won Best Director for the movie while Unforgiven won Best Picture as well.

1 The Shawshank Redemption (1994)

As ellis "red" redding.

Not only Morgan Freeman's best movie of his career, The Shawshank Redemption is considered the greatest movie of all time by many fans. Tim Robbins leads the movie as a convict who is imprisoned for killing his wife and her lover despite the fact that he claims to be innocent. While in the titular prison, he strikes up a friendship with fellow inmate Red (Freeman) with the two men discover the idea of hope in the most unlikely of places .

The film is extremely emotional and both Freeman and Robbins deliver career-defining performances as men who seek to find hope in the darkest spots. Morgan Freeman's charisma, charm, and intelligence come in full force and add to this powerful story of friendship, which is easily his best movie. It is an intense drama, an exciting prison story, and ultimately a moving odd to a friendship that culminates with one of the most satisfying movie endings of all time.

'The American Society of Magical Negroes' Review: Justice Smith Stars in a Satire That’s Too Safe

Despite a good idea and strong performances by Justice Smith and David Alan Grier, this concept isn't done justice.

The Big Picture

The film The American Society of Magical Negroes attempts to parody the trope, but lacks the teeth to do justice to the concept.
The middle section of the film prioritizes romance and forgets the more pointed criticism of the trope.
While the film has its heart in the right place, it should have focused more on critiquing the "magical negro" trope or being a romantic comedy, not both.

This review was originally part of our coverage for the 2024 Sundance Film Festival.

The term “magical negro” was originally popularized by Spike Lee as a way to describe Black characters in films that only exist to aid white protagonists. When Lee first introduced this term in 2001 on a visit to Yale, he mentioned films like The Legend of Bagger Vance , The Green Mile , What Dreams May Come , and The Family Man as examples of this exhausting trope, and in the two decades since, this cliché continues to rear its ugly head in entertainment . In The American Society of Magical Negroes , the feature debut of writer-director Kobi Libii , he attempts to parody and take down this concept, yet with a film that doesn’t have the teeth to do this story justice.

The American Society of Magical Negroes

Aren is recruited into a secret society of magical Black people who dedicate their lives to a cause of utmost importance.

What Is 'The American Society of Magical Negroes' About?

Justice Smith stars as Aren, a failing Black artist who specializes in yarn structures that, surprisingly, don’t sell at galleries. After seeing how he interacts with white people at one of his exhibits, he runs into Roger ( David Alan Grier ), who introduces Aren to the American Society of Magical Negroes. This secret organization attempts to make white people more comfortable—by being both authentically Black and acceptable to whites—as helpers to their white “clients.” While the “magical negro” was thought to be part of just movies, they also exist in the real world. In his orientation to the Society, Aren is shown scenes similar to the aforementioned movies, as a Black man teaches a white guy how to play billiards, similar to a scene in Bagger Vance , while another scene shows a Black prisoner helping a white guard get his love life back by grabbing the guard’s crotch, akin to The Green Mile .

While Aren isn’t sure about the idea at first, seeing how Roger works his magic—literally and figuratively—makes him curious about the new position. His first major assignment comes at a social media platform called Meetbox, where he has to help Jason ( Drew Tarver ), who is frustrated with his job. But while helping Jason by working alongside him at Meetbox, Aren also meets Lizzie ( An Li Bogan ). As the two start to grow closer, it turns out that Aren’s interest in Lizzie might conflict with the desires of his client—a major no-no for the Society. Aren has to decide what is best: keep his white client happy, or do what’s best for himself, damn the consequences.

'The American Society of Magical Negroes' Can't Do Justice to Its Concept

The American Society of Magical Negroes begins and ends at interesting places , as this is when Libii prioritizes taking down this troublesome trope. When we first see the Society, it’s almost a Hogwarts-esque place , full of wonder and the unexpected. Nicole Byer rules over this department, flying over the other members of the society, and the film can more directly address the types of movies that brought this concept to life. The ending also takes the opportunity to point out the ludicrous nature of the “magical negro” and show that this type of character shouldn’t solely exist to boost the white characters—which is mentioned in a well-delivered monologue by Smith.

Unfortunately, too much of The American Society of Magical Negroes is essentially a rom-com where Aren and Lizzie get closer, with the occasional obstacle thrown in the way by Jason. While we know the Society’s stance on putting the self before the client, the film's middle section forgets its more pointed criticism to instead create an easily digestible comedy. As Roger says when he introduces the Society to Aren, the job of the “magical negro” is to make white people comfortable, and yet, this is exactly the type of film that shouldn’t make anyone comfortable. Eventually, the film does address that issue, but it’s doing so in a film that has gone down too easily to make this entirely effective.

When the film focuses more on these tropes, it’s not particularly radical, but it’s where the story finds its strength. However, when we get to the Meetbox of it all, Libii’s script isn’t nearly as funny or succinct as it needs to be. There are some scenes where the director doesn’t know when to cut and get out, instead, reiterating the same points over and over and dragging the overall film down with it. Libii’s scenes make the point, then continue on for twice as long as they need to, which can occasionally turn decent scenes into exhausting ones.

It’s a shame because either aspect of the film could certainly work on its own . But in doing both, The American Society of Magical Negroes can’t give either concept the focus it needs. While the Meetbox segment of things is definitely clunky, a bit more tightening could’ve made it into an intriguing look at the often problematic nature of getting ahead in the corporate world. Similarly, if Libii had leaned more into the actual society, as we learn more about the ins-and-outs of how this group works, instead of just narrowing in on one assignment, this could’ve also been a strong direction. However, in mixing these two ideas together, both are handled in a way that can’t give this story the oomph that it needs to become a searing satire.

Justice Smith and David Alan Grier Are Solid, Even When the Film Falters

But always solid in The American Society of Magical Negroes are Smith and Grier. Smith’s character finds self-respect throughout the film, and we watch him go from being a man who is afraid he might make people feel uncomfortable to being able to find the confidence that he needs, as opposed to making others happy. Even though the film goes in directions it maybe shouldn’t, Smith is good at both the helper to Tarver’s Jason and the romantic lead alongside Bogan’s Lizzie. But the standout here is Grier, who is essentially the Morpheus to Aren’s Neo, showing him the way the world works and opening his mind to the reality of it all. Grier is a mentor with past regrets, and he always manages to be quietly hilarious and somewhat tragic. Together, Smith and Grier are delightful and play off each other well. It’s just a shame they’re not in a film that can critique these ideas deeper.

The American Society of Magical Negroes has its heart in the right place, but the film has a clever idea that it can’t support when it focuses on places it arguably shouldn’t. This is a film that should’ve either focused on the criticism of the “magical negro” trope or been a romantic comedy —not a combination of the two—and in doing both, the film loses much of its power in its shaky middle. The American Society of Magical Negroes is a film that needs bite for its high concept to work, and unfortunately, Libii’s film doesn’t have teeth.

The American Society of Magical Negroes has a great concept, but its satire isn't as biting as it needs to be for this idea to work.

The American Society of Magical Negores begins and ends with a solid parody of tired tropes.
Justice Smith and David Alan Grier are solid, even when the film falters.
The middle half of the film mostly forgets the satirical aspects that make this film interesting.
This concept needs to hit hard, and unfortunately, it's not as biting as it should be.

The American Society of Magical Negroes is now available to stream on Peacock in the U.S.

WATCH ON PEACOCK

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