The Batman is not a terribly bad movie, but it would be twice as good if it were half as long. How a film that likes to take shortcuts – especially with the Riddler’s ‘riddles’ – can still take almost three hours to get to where it’s going, I haven’t the foggiest (but then this is a rather strange enterprise that gives us Andy Serkis in the flesh and covers Colin Farrell in prosthetic makeup and a fat suit). Director/co-writer Matt Reeves very wisely avoids origin stories and takes for granted relationships, which have already been well established in a decades-long canon, between certain characters; on the other hand, he allows his movie to become bogged down at the halfway point in a deluge of backstory.

The obvious problem is that there is enough material here for at least two films, and Reeves attempts to cram it all into a single one. Why? We all know there are going to be sequels, so why not save some for the next chapter? Or better yet, why not leave some of it on the cutting room floor? There is absolutely no reason for the Penguin to be in this movie; he might as well be the Imperceptible Man (an actual Batman villain, mind you) for all that he’s given to do. Catwoman has been pretty much played out, and as far as the Riddler, I can’t believe I’m going to say this, but Jim Carrey did a much better job with the role than does Paul Dano – an otherwise fine actor that inexplicably chose to play the character as the bastard child of Heath Ledger’s Joker and Tom Hardy’s Bane. That leaves Carmine Falcone (John Turturro), who provides the most intriguing plot points; why not make him the main, or even – dare I say it – only villain?

Now, The Batman is long enough to try the patient of a saint, but at least it’s great to look at. Like the first Tim Burton Batman (as described by the unerring Roger Ebert), it “is a triumph of design over story, style over substance - a great-looking movie with a plot you can’t care much about.” Gotham City in particular is a winning combination of Burton’s faux noir texture and Christopher Nolan’s plausible architecture. The best scenes involve Batman (Robert Pattinson) and Jim Gordon (Jeffrey Wright) – and indeed Pattinson has an uncanny knack for playing off veteran character actors – as a sort of pre-Robin dynamic duo; their adventures are poignant because they appear to happen in the real world, or at least as real as a world can be wherein a grown man disguises himself as a giant bat (compare last year’s Zack Snyder's Justice League, with its unending CGI assault on the senses).