5.7/10. Someday, possibly in the near future, we’re going to get a gritty, documentary-style Batman film about a regular guy who dresses up like a bat and gets into ugly fist fights with criminals. And when that happens, we’ll turn around and laugh at how cheesy and unrealistic the Christopher Nolan Batman films seem now. Today’s cultural sensation is tomorrow’s hokey relic. So it goes.

But until that happens, it behooves us to look at Tim Burton’s 1989 *Batman* film, which comes off pretty corny and even rudimentary relative to the Dark Knight Trilogy, with some perspective. After the semi-grounded approach to the character in recent years, it seems odd that Burton’s film was praised for its serious approach to the source material. But contemporary critics were comparing it to William Dozer’s *Batman ‘66* the overtly comedic, Adam West incarnation of the caped crusader. So while much of what Burton does in *Batman* feels broader and even goofier than the bat-stories people think of today, it’s important to keep it in the context of the wide spectrum of portrayals of the character and his world, whether on the page or the screen, that have taken place over the last eighty years.

Even with that thought in mind when approaching the film, it’s hard to reconcile it with the gut response to a film made almost three decades ago under very different standards and expectations for superhero films and blockbusters in general.

Some of what dates the film is easily forgivable. The effects are not up to today’s standards – CGI or no – with models or miniatures standing out fairly clearly, and even details as minor as Batman’s costume contribute to the “just playing dress up” vibe. Between the two-piece cowl, or the curtain drapery bit the Dark Knight does with his cape in an attempt to create an intimidating silhouette for the criminals he’s attacking, the entire enterprise feels chintzier than the polished (even overly polished) visuals of today.

And yet, that contributes to the feel of the film. If there’s one thing about the film that feels both entirely appropriate to the source material and yet also makes it harder for a modern day viewer to connect with the film, it’s the overall atmosphere of *Batman*. Burton embraces the cartoony, four-color roots of the genre in the visuals and overall tenor of the film, even when it includes more intense elements like gangland hits and dead parents.

Part of that comes from the film’s setting, which takes place in an interesting amalgam of the 1940s and the then-contemporary Reagan era. Certain elements of the film – like the cops and robbers motif and the production design as a whole place *Batman* in an old version of New York City that seemed to only exist on the silver screen in the first place. But things like Vicky Vale’s glasses or the breaks in the action for the Joker and his goons to dance to Prince songs, or even the particular energy of the Alexander Knox character, root the picture squarely in the late-eighties. It’s a blend that serves to make the film very specific, timeless, and dated all at once.

The set design contributes to that sense as well. It feels like Burton literally shot a movie with oversized play sets. Everything in *Batman* feels larger than life. The world of Gotham is a fantasy land, a theme park, that captures the unreality of Batman’s comic roots while also putting it at a remove from the audience. In effect, these choices make Burton’s *Batman* feels truest to those roots among the various Batman-related films, even as he departs from standard continuity and characterization. Even though Keaton’s Batman doesn’t feel pulled from the pages of *Detective Comics*, there’s a real sense of Burton taking the toys out of the toy box, moving them around his elegantly constructed play set, with all the bombast and silliness that goes with it.

The problem, then, is that little of it has any weight. Not every superhero movie needs to be a mediation on hope or morality or vigilantism, but Burton’s *Batman* comes out feeling like empty calories, with really only The Bat himself the only character who offers any sort of inner life. There’s fun to be had here – giant balloons and cartoony gadgets. But it doesn’t quite capture the pure sense of joy or investment that can come up in the lighter Marvel films of recent vintage. Burton’s *Batman*, instead, feels appropriately enough like a Saturday morning cartoon come to life, with the same commitment to whiz-bang action but also lack of depth.

The irony is that the actual Saturday morning cartoon inspired by Burton’s work on the screen, *Batman: The Animated Series* distills the character and his world down to a much more coherent and compelling version of the same ideas present here. It’s rare that the characters in Burton’s *Batman* feel like real people rather than four-color abstractions and broadly-sketched archetypes.

The peak of this is Jack Nicholson’s Joker. There are hints here and there at a unique conception of the Clown Prince of Crime. The most promising of them is the idea of Joker as a conceptual artist whose medium is homicide. It’s appropriately out there for the character, and accounts for the theatrical flair in his capers. But Burton’s Joker has little true motivation in the film beyond some quickly completed revenge. There’s reason to give Burton the benefit of the doubt, and take his Joker as the result of when someone with little empathy or control to begin with goes insane – unpredictable, almost random cruelty – but the bumpers of the film’s exaggerated atmosphere keep that idea from landing with any force.

That leaves *Batman* with a semi-incoherent antagonist, with a rushed origin story, and only Jack Nicholson’s charisma to save things. Nicholson doesn’t just chew the scenery here; he gnaws on it like a dog with a bone. That leads to some enjoyable line reads (“where does he get those wonderful toys” is still a nicely arch bit from Nicholson) and some amusing dances from the three-time Oscar winner, but mostly leads to the character feeling as though it lacks an anchor or a purpose beyond dutifully moving the conflict along and giving Nicholson the space to do a handful of off-the-wall, unconnected comic sketches. Nicholson’s Joker is over the top, as he should be, but also rudderless and showy, undercutting any menace or threat he’s supposed to pose.

That extends to the film’s biggest break with the source material – making the Joker, as a young Jack Napier, the one who killed Bruce Wayne’s parents. It creates a certain poetry and connects the hero and the villain in the way that so many stories, superhero or otherwise, like to. (See also: the first season of Netflix’s Luke Cage show.) But it doesn’t amount to much, beyond turning Batman from a crusader for justice into a bog-standard seeker of revenge.

It’s a shame because Keaton’s Batman, while hamstrung by some of the movie’s shortcomings, makes for an intriguing version of the character. He doesn’t brood exactly, but he seems quietly tortured nonetheless. It’s a choice keeps Keaton’s Batman from the taciturn glumness that overly dark modern adaptations have taken too far, but still portrays him as a man who doesn’t quite feels comfortable with who or what he is, shutting people out and working through his problems by skulking through the night and protecting other little boys whose parents wander into the wrong alley. Beyond the “wanna get nuts” interlude, it’s a nicely unshowy take on the character that succeeds in ways even the Nolan films struggled with at times.

It also gives the film its only real bit of emotional weight, especially Bruce/Batman’s relationship with Vicky Vale. Kim Basinger’s Vale is a thin, if noble for the time to put a female lead with some oomph into the narrative. She shows some modicum of cleverness and resourcefulness during the film, but still devolves into standard damsel-in-distress tropes that make her feel more like a prop than a vital part of the story. Still, the film never feels more human and real than in the moments when Bruce and Vicky are flirting, or worrying about one another, or shutting each other out. The film goes back and forth, but in their scenes set in and around Wayne Manor in particular, there’s a chemistry there that buoys the film, and gives another layer to Keaton’s performance as his Batman is only willing to let someone so far into his life.

There are other smaller elements that make the film enjoyable. Danny Elfman’s score is, to borrow the title of the film’s aborted sequel, thrillingly triumphant, with an operatic bombast that perfectly matches the tone of the film. On the other side of the coin, Michael Gough brings warmth and kindness to his portrayal of Bruce’s butler and confidant, Alfred Pennyworth, that helps give the movie what little emotional grounding it has. In between is the film’s palette, which is garish and at times even lurid appropriate to the newsprint origins, balancing the darkness of the setting with an exaggerated color scheme.

Still, Burton’s *Batman* can’t help but feel like a half-measure to the modern eye. Halfway between the tongue-in-cheek cheekiness of Dozier’s *Batman ‘66* and the pot-boiling grit of Nolan’s Dark Knight Trilogy, Burton’s *Batman* can’t quite manage the balance of weight and whimsy that the animated series he inadvertently spawned nearly perfected. Instead, the film is a muddle of Batman’s sensibilities and Burton’s, presenting yet another one of Burton’s troubled loners, amid the painted cardboard world and cartoony figures, that leave the sense of a fingers-crossed adventure where everyone’s just playacting.

*Batman* is not quite a lark, not quite a thrill, and not quite an achievement. It’s a curiosity, an evolutionary step for the caped crusader on the silver screen, having not fully shed its previous form, and not yet worked out what the character might be. The film is a toy box come to life, with all the good and all the bad that the description conjures.