a5c7b9f00b After stopping the Joker's rampage, Batman finds himself facing the hideously grotesque Penguin–a deformed villain who emerges from the sewers who plans to be respected into Gotham's community. Little does Batman know is that devious businessman Max Shreck is working with the Penguin to becoming Mayor of Gotham. And they also plan to frame Batman from a different perspective. Meanwhile, Max's lowly secretary Selina Kyle gets thrown out a window from her workplace and transforms herself into the mysterious vigilante called Catwoman. Can Batman defeat two fiendish foes at once and clear his name at the same time?
When a corrupt businessman and the grotesque Penguin plot to take control of Gotham City, only Batman can stop them, while the Catwoman has her own agenda.
This second Batman is much much better than the first one. It is plastically more accomplished, much better played, and maybe better written also.One thing is obvious:here Burton pushed the masquerade towards a vision.This is the Batman installment that has a vision,an inner principle;this is surprising. It has not atmosphere; but then no Burton movie has an atmosphere. The second Batman is much more suspenseful than the previous one. That one had Mrs. Basinger,it is true—but this one has Mrs. Pfeiffer—and this is even better. And these two fine ladies should not be compared,they have entirely different roles in the two movies. But Mrs. Pfeiffer seems to be even more fun than Mrs. Basinger—and Mrs. Basinger is great fun and a good reason to watch a movie.<br/><br/>The second installment looks good—it looks VERY good—and I am not a fan of Burton's visual style. There are several amazing things in this film—I leave you the pleasure of discovering them. This is a stylish film indeed—and, if not a vision, at least a spectacular masquerade. It does achieve several moments of truly fantastical texture—almost a twisted fairy-tale.<br/><br/>It somehow reminded me also of some big '60s farces,suchBlake Edwards' The Great Race (1965) ,or Roman Polanski's Dance of the Vampires (1967).Yet,this one is made within the postmodern stance,so it is a spoof multiplied with itself.<br/><br/>I am one of those who believe that Burton did not prove Keaton is such a good Batman character.A few days ago I was discussing the Batman '89's cast with a pal,and he found fault with Keaton castingan ultra-cool enigmatic avenger and 'justiciary. But I didn't like any of the actors castsuperheroes in the '70s-'90s feature movies. They had Gibson and Gere and Willis and they came with … Keaton.<br/><br/>Batman II has a sense of wonder and of dream, it's good this thing was made. It is fanciful and well-paced.<br/><br/>I don't like Walken in Burton's movies,but Mrs. Pfeiffer is outstanding—she brings a charm and a note of poetry that are one of the main qualities of this movie.She is so very good for such an action role …. In fact,for me, Batman II is her movie. I would even suggest that Selina Kyle is one of her signature roles.<br/><br/>The Penguin was a very well-written character, a very well suited one, and an enjoyable notion in the movie. He is more interesting,a villain, then the Joker. And increasing the number of Batman's enemies, or pseudo-enemies, or quasi-enemies proved to be an inspired decision—it's more fun this way, and it makes the narration more compact.<br/><br/>I consider that Burton 's best films are Ed Wood (1994), Mars Attacks! (1996) and Batman Returns (1992) (but I have seen only 6 of them—everything he made from Batman Returns (1992) till Planet of the Apes, plus, of course, Batman ,1989). So everything that follows is based only on my experience with these 6 movies.<br/><br/>Burton's poetics is one of the unreality –it is a deliberate attitude, of course, but it must be also a thing of temperament. Unreality—as in Godard …-but in an entirely different way, and with different means and purposes. But unreality—as Godard pumped it. There are no 'evocating angles in their films-no seizing of a piece of the world. A Golan-Globus film from the '80s contains more atmosphere—of a street corner, etc., or of a pub, than all Burton's movies. Hence their quasi-academic look. The viewer's response depends on whether he enjoys this kind of postmodern take, or not. I do, sometimes. (By the way, I consider Godard, since I named him here,I consider Godard infinitely superior to Burton, it was not my intention to imply they are equals. )Burton's principle is a postmodern one, hence an epistemic one. Emptying the representation of any impetus towards imitation. Postmodernism is the epistemic response to realism—more of a crisis than of a response. Burton 's films are giant vacuum machines. I see he wants them to be this—he plans them to be this way.<br/><br/>Camping up the camp is itself a very camp thing to do. Mocking the camp is still camp; or it is rather even campier. It is true that the camp-aware camp is odd. It betrays, yet it still does belong.So, camp comes to have an odd relation with itself. Spoofing a movie is no way of doing homage (the presupposition is that "we" can not enjoy those referenced moviesthey are, and that we need some spoofing versions ….)<br/><br/>Burton pretends not only that the ingenuity is lost forever,but also that he is much smarter than those he says he quotes.You see that he is proud he's not Ray Harryhausen, Vincent Price,Edward D. Wood Jr, he would be ashamed to be one of them, for where are the humbleness, the ingenuity, the straightforward camp?The mere and humble enjoyment of the camp?<br/><br/>Batman could of been a great chance—it needed the vision of a William Dieterle or Ludwig Berger, Michael Powell and Tim Whelan (as a triplet …).Burton's movies would not have made Price,Price. Spoofing is not continuing. <br/><br/>Burton's movies are spoofs, parodies, masquerades, and they discredit the films they spoof.They seem to be made by a man who did not understand the movies he was spoofing. Even for his genre of masquerades, Burton has an unique inability of creating life.<br/><br/>It has to be acknowledged that Burton shares with Soderbergh and the Coen brothers the top of the snobs' preferences.They are glad they were told what to think about these guys' movies,and so they can play the same repertory of clichés about post-modernism et Al. Burton, Soderbergh, the Coens live by discrediting genres. But that's not such a bad thing. Sometimes it is amusing and funny.
Having just seen "The Dark Knight Rises", I have to say that "Batman Returns" is superior in several ways: <br/><br/><ul><li>Anne Hathaway's catwoman (or whatever she was supposed to be in TDKR), simply cannot compare to Michelle Pfeiffer's. The former is just one-dimensional, lame and unconvincing.</li></ul><br/><br/><ul><li>"Batman Returns" manages to capture the essence of Gotham City – the atmosphere is magnificently portrayed (dreary, dark, depressing), which is more than I can say for TDKR, which tries very hard, but fails.</li></ul><br/><br/><ul><li>I did kind of enjoy Bane in TDKR, but his character was severely under-developed and there was not much of a story behind the whole residing-in-the-sewers-for-years stuff. The Penguin in "Batman Returns" is well explained, the story revolves around the sewers, and a lot of the action takes places there.</li></ul><br/><br/><ul><li>The costumes / the makeup alone are reason enough to see "Batman Returns" – amazingly good! In TDKR, there's ABSOLUTELY nothing – everyone (including Batman) look like they're wearing cheaply-made, lame Halloween costumes from one of those 1$ stores.</li></ul><br/><br/><ul><li>The lead characters are well-developed and colourful – even the supporting/minor characters. In TDKR, they are one-dimensional, bland, mostly unlikeable, and you just don't care for them much.</li></ul><br/><br/>I liked Christian Bale's Batman a bit better than Keaton's, though. The worst one, without a doubt, was Clooney's.
As Beetlejuice and Edward Scissorhands reminded us, Burton always has been more absorbed by what his audience sees than by what his movies say. It's part of his unique talenta filmmaker, but it leads him to ignore the flaws in the structure of what is, after all, supposed to be an exciting adventure film.
In an attempt to become the mayor of Gotham City, the nefarious Penguin (<a href="/name/nm0000362/">Danny DeVito</a>), tossed by his parents into the sewers shortly after his birth, teams up with megalomaniac businessman Max Shreck (<a href="/name/nm0000686/">Christopher Walken</a>). He also works with the slinky, mysterious Catwoman (<a href="/name/nm0000201/">Michelle Pfeiffer</a>) to plot the downfall of Batman (<a href="/name/nm0000474/">Michael Keaton</a>) …until Catwoman spurns Penguin's romantic advances and sets out with her own agenda. The movie is based on characters created by American comic book artist Bob Kane and writer Bill Finger for DC Comics, first appearing in Detective Comics #27 in May of 1939. The screenplay was written by American screenwriters Sam Hamm and Daniel Waters. It is a sequel to the first movie in Warner Bros.' Batman film series, <a href="/title/tt0096895/">Batman (1989)</a> (1989) and is followed by <a href="/title/tt0112462/">Batman Forever (1995)</a> (1995), and <a href="/title/tt0118688/">Batman & Robin (1997)</a> (1997). The film series was rebooted in 2005 with <a href="/title/tt0372784/">Batman Begins (2005)</a>. Because in the comics, Batman started out solo and Robin is still young during this time. The character of Robin was included in early screenplays for the film, and actor <a href="/name/nm0005541/">Marlon Wayans</a> was cast in the role. Action figures of Wayans' Robin were even produced. However, rewrites to the script ultimately removed all mention of Robin, and the character was saved for the next film, <a href="/title/tt0112462/">Batman Forever (1995)</a>. Not until the very end of the film. Shreck sees Bruce Wayne onlya possible investor in his power plant, and Penguin doesn't interact much at all with Bruce, so neither of them connect him with Batman. Catwoman sees Bruce Waynea rich, eligible bachelor for whom she has romantic feelings. She doesn't learn that he is Batman until Schreck's party when Bruce says back to her word-for-word an exchange they had when in their guisesBatman and Catwoman: "Mistletoe can be deadly if you eat it. A kiss can be even deadlier if you mean it." Yes. Selina Kyle was workinga meek secretary for Max Shreck and living alone with only her cat for company. When she discovered Max's real plan for a power plant he was intending to build, he pushed her out of a window to keep her quiet. She survived the fall but her personality changed, becoming more aggressive and vindictive. She cut up a leather coat, fashioned for herself a cat costume, donned a bullwhip, and Catwoman was born. Yes. The movie opens with a scene showing how Esther Cobblepot (<a href="/name/nm0758405/">Diane Salinger</a>) gave birth to Oswald, who was born deformed with Penguin-like features. They keep him locked in a cage and after seeing him kill their cat, they decided to throw the infant Oswald into a river. Oswald then drifts down the river, into the sewer and is brought ashore and raised by penguins. Thirty-three years later, Oswald is showna deformed man with flippers for fingers and still living in the sewer with a flock of penguins under the Gotham Zoo's Arctic World. The character ofwas created specifically for this film, without having ever appeared in any prior Batman stories. His name is likely a reference to the German actor <a href="/name/nm0775180/">Max Schreck</a>, who played the vampire in the famous German re-inerpretation of Dracula, titled <a href="/title/tt0013442/">Nosferatu, eine Symphonie des Grauens (1922)</a> (1922). On the DVD commentary, director Tim Burton reveals the character was originally going to be , played once again by <a href="/name/nm0001850/">Billy Dee Williams</a> from the first film. Williams signed up for the first with the intention that he would eventually play the character in future installments. The explosion at the end was meant to scar his face, transforming him intofor a third film. The movie was eventually reworked and Dent became Shreck. The character of Max Shreck was later planned to appear in <a href="/title/tt0103359/">Batman: The Animated Series (1992)</a>, but he was reworked into another original character, Roland Daggett, who later was the basis for the character John Daggett in <a href="/title/tt1345836/">The Dark Knight Rises (2012)</a>. Gotham City is a fictional U.S. port city located on the north-eastern Atlantic coast. It was originally a stand-in for New York City but has also resembled other crime-ridden, highly-populated urban centers suchChicago and Detroit. Some sources, including Mayfair Games' authorized (but now out-of-print) Atlas of the DC Universe, have placed Gotham City in the state of New Jersey. <a href="/name/nm0634240/">Christopher Nolan</a> (director of Batman Begins and its sequels, <a href="/title/tt0468569/">The Dark Knight (2008)</a> (2008) and <a href="/title/tt1345836/">The Dark Knight Rises (2012)</a> (2012)) locates Gotham City in the middle of the estuary of the Liberty River where it empties into the Atlantic Ocean. The river separates most of Gotham from the mainland. The River Merchant divides Uptown from Midtown, while Midtown is separated from Downtown by the Gotham River. The Narrows is a small island in the Gotham River. A creek divides the district of South Hinkley from the rest of Gotham City. Gotham International Airport is in Pettsburg, to the north of the Liberty River estuary. The current DC Universe version of Gotham City is separated from the mainland by the Gotham River, bridged by a series of bridges and tunnels. The east and south sides of Gotham face the Atlantic Ocean. The city is further divided by the Sprang River (named for Dick Sprang) on the northern end and the Finger River (for Bill Finger) to the south. Tiny Blackgate Isle to the south-east is home to Blackgate Maximum Security Penitentiary. (Blackgate is replaced by Stonegate Penitentiary in the animated series <a href="/title/tt0103359/">Batman</a> (1992-1995) and its spin-offs.) Yes. The reason however is not stated, but it is likely due to the fact that Max is an evil character/businessman in the movie and,such, having someone killed goes along with that. Fred disappearing would surely have helped Max financially by allowing him to gain complete control over their businesses. <a href="/name/nm0000318/">Tim Burton</a> reportedly doesn't like making sequels, so although Batman Returns is a sequel, he made it unlike a sequel with a new love interest for Bruce Wayne. However, Vicki is mentioned twice, and she hasn't died according to the film. When Selina asks Bruce whether he has a girlfriend, Bruce tells her that he did but that it just didn't work for Vicki and himself. Later in the movie, Bruce mentions to Alfred (<a href="/name/nm0001284/">Michael Gough</a>) how Vicki once found her way into the Batcave. They were real penguins, on loan from a bird sanctuary in England. Some of the larger penguins were actually people in suits. Batman follows Penguin into his sewer lair under Arctic World where Catwoman has Shreck cornered. He stops her from killing Shreck and suggests that they take him to the police, after which they can go home together. Even though Shreck is watching, Batman pulls off his mask, revealing his identityBruce Wayne. Catwoman almost agrees but suddenly refuses on grounds that she couldn't live with herself. She pulls off her mask, too, revealing to Shreck her identitySelina Kyle. Shreck immediately fires her, shoots Bruce, and turns the gun on Selina. She challenges him, saying, "You killed me, the Penguin killed me, and Batman killed me. That's three lives. You got enough (bullets) in there to finish me off?" Shreck fires and keeps firing four times until he is out of bullets, but Selina keeps advancing. Figuring she still has two lives left, she uses one of them to electrocute him with power cables and a taser, causing the lair to burst with explosions. She then disappears. Penguin suddenly rises out of the toxic water, bleeding from his mouth. He complains that the heat is getting to him and that he needs a drink of ice water but collapses and dies, his penguins sliding him into his watery grave. Later,Bruce and Alfred are driving down the street, Bruce notices what looks like Catwoman's shadow against a wall. He jumps out of the car but she is nowhere to be seen. In the final scene, the bat signal emblazons the night sky, and Catwoman's head looks up at it, suggesting that she still has one life left. In the special features section of various DVD releases, it is mentioned that the final shot showing that Catwoman had survived was added at the last minute at the studio's insistence. The film was originally to have ended more ambiguously. Following Batman Returns, there were plans to have Catwoman subsequently featured in a film of her own, but the project was stuck in "development hell" for a whole decade. By the time a Catwoman film was finally made in 2004, all of the originally-slated participants had dropped out or been let go, and the character was no longer even Selina Kyle or related to the Batman universe. The most likely in-universe answer is that not seeing Catwoman in any of the Batman sequels could simply mean that Selina Kyle has given up her life of crime or simply moved away from Gotham City. However, there were ideas for Michelle Pfeiffer to returnCatwoman in Batman Forever. To put it simply, the UK DVD versions of this movie are all cut. First of all, there's the old 15-rated DVD that is missing two scenes: the nunchaku-swinging clown, and the infamous aerosol/microwave scene. A couple of years later a Special Edition was released with a 12 rating. The nunchaku scene has been reinserted but the microwave scene is still missing. The Blu-ray version, rated 15 in the UK, has both the above mentioned scenes restored. Beyond cats traditionally having been regardedhaving nine lives, various solutions have been suggested, most commonly that she had incorporated body armour into her costume meaning that the bullets would have still hurt (hence her reaction) but not penetrated her body. It could be that none of her vital organs (especially the heart or central nervous system) were struck and yet she also didn't experience significant blood loss, but a lack of bleeding without the protection of armour would suggest accelerated clotting or otherwise something supernatural like her being a revenant. The Halle Berry Catwoman film postulated that the role of Catwoman was actually an inherited title that was supernaturally passed down to a series of women throughout the ages. This means that either she was imbued with special powers which allowed her to survive or that the Catwoman we see at the end is not the same one we have been following throughout the film but the new bearer of the role.
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