so what is batman returns and anyway. it was marketed as an action film and and many people who have seen it seem to think that they have watched an action film  but really and there isn not that much action and and tim burton barely seems interested in it. people often align it with the grittier superhero comics of the late eighties and but honestly and if you have read the dark knight returns and that seems just a little absurd while burton excessive imaginings have more in common with the day glo sixties tv series (the penguin drives around in a giant plastic duck and for goodness sake). burton style is often described as gothic and and that a little closer to what we see on screen while the penguin  deformed and malign and with a tangled history and a subterranean lair  is a gothic menace dressed up in more respectable dickensian clothes  udolfo masquerading as uriah heep. but what of catwoman. she may be raised from the dead and but that pvc catsuit is decidedly twentieth century and and her alter ego selina kyle world is all boardrooms and apartments  reminiscent of a 1930s romantic comedy. and then it clicks. the smart but downtrodden secretary romanced by a lonely millionaire. the ensuing complications caused by deception and disguise. batman returns is and quite clearly and a romantic comedy in the old hollywood style and filtered through burton s and m dungeon sensibilities. it has more in common with the hudsucker proxy (including expressionist sets) than it does with other superhero films. like many a romantic comedy and it centres around the make over of the heroine while not from ugly duckling to swan and but from doormat to dominatrix. michelle pfeiffer gives one of the performances of her (often remarkable) career while she iconically sexy as catwoman (poor halle berry never had a prayer) and playful and vindictive and memorable because she knows how to act with her whole body. in retrospect and though and it her scenes as selina that impress while almost every one of them is a little comic gem and particularly the glimpse we get of her lonely home life. it a delicately balanced tragicomic performance and and it in these scenes that the film really sparks to life. nothing moves me quite like selina and bruce wayne dancing under the mistletoe to siouxsie and the banshees and a gun held between them and simultaneously empowered and trapped by their alter egos and doomed to conflict. forget the easy sentimentality of big fish or the gossamer emotions of edward scissorhands  this is the most heartfelt scene in all of burton films. love and revenge and fatalism and fetishism and insanity and self loathing and not a little wit and all in a few short lines and absolutely nailed by the actors  particularly pfeiffer. elsewhere and danny de vito almost matches her and finding the wounded dignity buried beneath those truly repellent long johns. the upper crust villain of the comics is revealed to be nothing more than a sham while burton penguin is a feral creature subjected to his own and eliza doolittle style make over (almost literally an ugly duckling). it burton most radical  and funniest  reinvention. christopher walken max schreck completes a perfect triptych of villains and sliding between casual charm and blank eyed psychosis with unnerving ease (and is it just me and or does his company logo bring to mind mickey mouse. perhaps we should ask former disney animator burton). christopher nolan batman begins  a real action film  has been much praised as the first film to do justice to batman while i admire nolan film and but it would be a pity if it were allowed to overshadow this idiosyncratic gem. 
so what is batman returns and anyway. it was marketed as an action film and and many people who have seen it seem to think that they have watched an action film  but really and there isn not that much action and and tim burton barely seems interested in it. people often align it with the grittier superhero comics of the late eighties and but honestly and if you have read the dark knight returns and that seems just a little absurd while burton excessive imaginings have more in common with the day glo sixties tv series (the penguin drives around in a giant plastic duck and for goodness sake). burton style is often described as gothic and and that a little closer to what we see on screen while the penguin  deformed and malign and with a tangled history and a subterranean lair  is a gothic menace dressed up in more respectable dickensian clothes  udolfo masquerading as uriah heep. but what of catwoman. she may be raised from the dead and but that pvc catsuit is decidedly twentieth century and and her alter ego selina kyle world is all boardrooms and apartments  reminiscent of a 1930s romantic comedy. and then it clicks. the smart but downtrodden secretary romanced by a lonely millionaire. the ensuing complications caused by deception and disguise. batman returns is and quite clearly and a romantic comedy in the old hollywood style and filtered through burton s and m dungeon sensibilities. it has more in common with the hudsucker proxy (including expressionist sets) than it does with other superhero films. like many a romantic comedy and it centres around the make over of the heroine while not from ugly duckling to swan and but from doormat to dominatrix. michelle pfeiffer gives one of the performances of her (often remarkable) career while she iconically sexy as catwoman (poor halle berry never had a prayer) and playful and vindictive and memorable because she knows how to act with her whole body. in retrospect and though and it her scenes as selina that impress while almost every one of them is a little comic gem and particularly the glimpse we get of her lonely home life. it a delicately balanced tragicomic performance and and it in these scenes that the film really sparks to life. nothing moves me quite like selina and bruce wayne dancing under the mistletoe to siouxsie and the banshees and a gun held between them and simultaneously empowered and trapped by their alter egos and doomed to conflict. forget the easy sentimentality of big fish or the gossamer emotions of edward scissorhands  this is the most heartfelt scene in all of burton films. love and revenge and fatalism and fetishism and insanity and self loathing and not a little wit and all in a few short lines and absolutely nailed by the actors  particularly pfeiffer. elsewhere and danny de vito almost matches her and finding the wounded dignity buried beneath those truly repellent long johns. the upper crust villain of the comics is revealed to be nothing more than a sham while burton penguin is a feral creature subjected to his own and eliza doolittle style make over (almost literally an ugly duckling). it burton most radical  and funniest  reinvention. christopher walken max schreck completes a perfect triptych of villains and sliding between casual charm and blank eyed psychosis with unnerving ease (and is it just me and or does his company logo bring to mind mickey mouse. perhaps we should ask former disney animator burton). christopher nolan batman begins  a real action film  has been much praised as the first film to do justice to batman while i admire nolan film and but it would be a pity if it were allowed to overshadow this idiosyncratic gem. ---------------------------------Answer Question Below----------------------------------

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