Batman Forever (1995)
Director: Joel Schumacher
Starring: Val Kilmer, Jim Carrey, Tommy Lee Jones, Nicole Kidman, Chris O’Donnell, Michael Gough
Primary genre: Superhero
Nominated for: Best Cinematography, Best Sound, Best Sound Editing
Joel Schumacher’s “Batman Forever” does not get the credit it deserves. Coming after one of the best (if not the best) “Batman” films (“Batman Returns“ (1992)) and predating the worst (Schumacher’s own “Batman and Robin” (1997)), it is easy to see why most people forget about it.
The definition of a Hollywood blockbuster, it bears expensive production values, stellar special effects, lots of star power and a totally bonkers script which moves the proceedings at a hectic pace. Yet, you can’t help but sense that all of these elements are style over substance. With Warner Bros pressuring for this new iteration of Batman to be funnier, lighter and more hip (and thus hopefully more commercially successful), “Forever” in its current form, does not extend beyond the status of a cinematic firework.
“Riddle me this, riddle me that, who is afraid of the big, black bat?”
Reports that Schumacher shot and completed a more brooding drama which explores psychological duality are true but it is unknown whether Warner Bros. will ever release it. There are shades of this interesting theme in several brief sequences where characters openly discuss their alter-egos and hidden agendas but these do not have the in-depth exploration to be meaningful condemning the film context wise to banality as elements are introduced but go nowhere excluding the Riddler’s arc.
Like one of its main villains (i.e., Two-Face), “Batman Forever” feels like two movies fighting each other for equal screentime. Its sinister undertones far from being kid friendly (e.g., death of Robin’s family, Enygma’s obsession with Bruce Wayne) are at odds with the camp/funny moments and clunky execution in certain areas. While there are some appealing aspects to watch (e.g., the destruction of the Bat Cave is a highlight), others are downright embarrassing. Schumacher directs several skirmishes, but the execution is hollow and somewhat stale, underwhelmed by a script which does not know how to naturally progress an action scene. You would think with all the muscle and brain power which the villainous duo possess, their climatic endgame would involve a more brutal confrontation besides a banal game of choice.
Technically speaking, Schumacher’s take on Gotham city is quite different from Tim Burton’s almost monochromatic German Expressionism palette. Stephen Goldblatt’s (Oscar nominated) cinematography brings alive the gorgeous production design (Nygma’s and the Riddler’s lair are a work of art) by Oscar winner Barbara Ling (“Once Upon a Time in Hollywood“ (2019)) which ranges from colorful and neon-infused art deco/nouveau to grandiose gothic inspired architecture, even if it sometimes overwhelms the senses; the costume design especially for the Riddler’s outfits and the more mobile Bat suit is superb too while the sound design brings aggressively front and center the bombastic score of Elliot Goldenthal, who had the tough job of crafting a new theme.
Val Kilmer makes for a fine hero but in a bigger degree than Keaton before him, he does not have much to do. Expanding the team by adding a now dated 90s Robin (that bloody earing is distracting) breaks the monotony of the previous films but Chris O’Donnell comes across as a cry baby more than a crime fighting sidekick. As for the new love interest, Nicole Kidman is stunning to look at but even with her characterization as a forensic psychiatrist, she is been treated as an one dimensional sex driven(!) damsel in distress.
A Batman film though is always interesting as the villains and after three great and iconic performances by Nicholson, de Vito and Pfeiffer, the anticipation for the Riddler and Two-Face was fever pitched. While Tommy Lee Jones’ Two Face attempts to outdo Jim Carrey by delivering an annoying and pedestrian performance that involves constant chuckling, Jim Carrey as Edward Nygma/Riddler steals the show. Like a rubber looney tune, Carrey’s manic energy is infectious alternating between menace and theatricality on the spot with witty one liners and pitch perfect comic timing outperforming the more dramatically based cast members; although he still brings a relatable human layer to his villain especially in the earlier scenes.
As a standalone sequel, “Batman Forever” tries too hard in all fronts. Its efforts to insert grave (yet minimalistic) psychological elements come into stark contrast with its comic (and campy) book execution. The cast is pretty good but this is Jim Carrey’s show who gives one hell of a performance. The money can be seen through the film’s visual splendor but its soul is nowhere to be found. While it is not the cinematic travesty that most remember, it can be viewed as a moderate disappointment considering the amount of talent and money involved.
Entertaining but tonally uneven
+Val Kilmer is a great Batman/Bruce Wayne
+Carrey is on fire
+Thunderous sound design
+Interesting psychological themes
+Cinematography, costume and production design
-…that might veer into kitsch
-Clunky action scenes
-Blunt love interest and Robin
-Lee Jones’ Two Face is embarassing
-Tonally uneven