La cosa decae un poco con respecto a la anterior, pero aun se mantiene el ambiente, y la historia y las presentaciones de los villanos están bastante curradas.

A return to the new darker Batman world that Tim Burton created. The characters in this movie are just off the damn wall, its so over the top yet somehow still so bleak and grounded. all that praise being said, it is pretty lame, Is still got a bit too much cheese for my liking.

Batman Returns (1992), directed by Tim Burton, is a dark and atmospheric sequel to Batman (1989) that continues to explore Gotham’s gritty underworld through its eccentric and complex characters. With Michael Keaton reprising his role as Bruce Wayne/Batman, the film also introduces a new set of colorful and unsettling villains: Danny DeVito as the grotesque Penguin, and Michelle Pfeiffer in a standout performance as the iconic Catwoman. While Michael Keaton delivers another strong performance as the brooding and tortured Batman, it’s Danny DeVito’s portrayal of Oswald Cobblepot/The Penguin that truly captivates. DeVito brings a twisted charm to the character, blending menace with pathos in a way that is both disturbing and surprisingly sympathetic. The Penguin’s tragic backstory and his attempts to take over Gotham city give him a depth rarely seen in villain portrayals. However, the real heart and soul of Batman Returns lie in Michelle Pfeiffer’s unforgettable portrayal of Selina Kyle/Catwoman. Pfeiffer steals every scene she’s in, transforming from the meek and mild secretary into a fierce, unpredictable anti-heroine. Her Catwoman is complex, driven by a blend of rage, vulnerability, and a dark sense of humor. Pfeiffer’s performance is electric, her physicality as Catwoman is captivating, and her emotional range gives the character a humanity that often outshines the film’s more overtly fantastical elements. Tim Burton’s gothic aesthetic and whimsical yet sinister world-building are in full force here, with the film’s eerie, snow-covered Gotham offering the perfect backdrop for these larger-than-life characters. The movie’s themes of duality—between Batman and Bruce Wayne, Catwoman and Selina Kyle, the Penguin and Oswald Cobblepot—are explored with depth, and the film’s visual style only enhances the narrative. In the end, Batman Returns is a film that’s as much about the villains as it is about the hero. While Keaton and DeVito are memorable in their respective roles, it’s Michelle Pfeiffer’s performance as Catwoman that truly makes this film stand out. She’s fierce, captivating, and tragic in equal measure, making Batman Returns a true showcase of her immense talent.

Follow up to 1989’s Batman, is quite a bit darker, and has a more gothic tone. It has more a Burton flair to it, and it very much seems as though he had more creative control here. He would be joined by his Edward Scissorhands Cinemetographer, Stefan Czapsky and longtime collaborator Danny Elfman, whose musical score complements the tone of the film perfectly. Set in an undetermined amount of time after the first film, Gotham City has now welcomed Batman as their hero and saviour. He must contend with several new antagonists, who each have their own agendas, sometimes even overlapping with each other, and against one another. Keaton definitely grew into the role of Bruce Wayne/Batman, and he appeared much more confident in the role.  It has been noted that he preferred this film to the first. He still remains one of the best, if not the best Batman on screen. DeVito is in his element as the vile Penguin. He was the most terrifying villains of this era of Batman films and a much darker iteration of the character, than had ever been seen before. Pfeiffer as both Selina/Catwoman, was a much more mature love interest and worthy villain for both Bruce Wayne and Batman. I had not seen this film in about fifteen years since re-watching for this review, and completely forgot how suggestive some of the dialogue was between Catwoman and Penguin. Much better than the original, there are some pacing issues, and there are some inconsistencies in the ‘timeline’ of the plot that I forgot about – (such as Penguin’s run for mayor that happens in a matter of days, to Selina’s transformation to Catwoman and her return to work after said transformation). Both don’t make sense when you think about it too much. This is still the best of the 90’s Batman movies, and (to date) Keaton’s final on screen outing as Batman (however we may still see him again soon!). It is also Burton’s final time behind the camera for this series, and his presence will be missed in the franchise going forward until Christopher Nolan's reboot in 2008. The secondary theme of being set at Christmas is also part of the plot, but it really could have been set at any time. So this is not a Christmas movie. Followed by Batman Forever in 1995. 4/5

Leather, whips, and the most flips I think I've seen in any non-musical. A much bigger budget and seems they really let Burton go nuts for this one. It's better put together, looks better, and still has all the Elfman greatness in the score and music. Better polish and more commercial doesn't mean better though. Some camp doesn't deliver and the puns and jokes don't always land. DeVito commits to his work, especially here and Pfeiffer is my favorite catwoman. Her chemistry with Keaton is palpable. Still love this movie, just not as good as '89. My double feature with Batman 89 165/500 movies & tv for 2024