Sadly Over-hyped

If the ambition is to provide two hours of instantly forgettable, popcorn-munching escapism, it succeeds.

This is a gorgeous movie made by a gorgeous spirit.

It’s fine. It's literally the definition of a fine movie. You’ve seen it before, you know every beat and outcome before the characters even do. Only question is how much escapism you’re looking for.

I know it may not be a popular opinion but I really enjoyed this film, almost as much as I loved the first Batman film. It is not very much like the new Christian Bale Batman films, which are much darker and more serious and awesome in their own way, but the first Batman film series started out awesome too, just in a more cartoonish-but-dark kind of way. Of course once Tim Burton left the series went off the rails and turned into complete garbage (Ah-nold as Dr. Freeze?) but this first one with Jack Nicholson's Joker was incredible, and the first sequel was also still very good. Michael Keaton was a great Batman too, and a better Bruce Wayne. Michelle Pfeiffer is also incredibly sexy as Catwoman, and Danny DeVito actually gives a pretty touching performance as The Penguin.

I say that this film probably had the best depictions of death out of all the Batman movies, especially with all of catgirls deaths and the guy trying to take over the city. DeVito does a excellent job playing the penguin and he is probably the best villain in the series. However the dialogue is beyond painful and the performance from Keaton while great in the first film was not really all that good at all in the second one and honestly felt like he did not care at all. The action and effects also do not hold up at all. That being said, compared to its two sequels, this was a masterpiece of all cinema.

Movie Review: "Batman Returns" (1992)Warner Bros. Pictures presents this highly theatrical conceived sequel to their smash hit of 1989 "Batman" directed by visionary 1920s-Dr.Caligari-homaging director Tim Burton. By many considered in parts too dark for the common target audience due to visceral death scenes of skyscraper fallings over cold-blooded revolver shots to starving concrete-dropping creatures of the night.The character of Bruce Wayne / Batman, performed by keeping face actor Michael Keaton, must encounter the childhood-traumatized Peguin with Danny DeVito in-top form, portraying with utmost of delight and heartbreaking emotional outbursts due to a parents-abandoned child within, when the character of Selena Kyle transforms into Catwoman in skin-tight black-gloss costume performing actress Michelle Pfeiffer sending whippings and razor-sharp scratchings out to a final deadly kiss, when the picture in moments of complete full frontal character confrontations exceed its precessor, especially in the showdown triangle stand-off, including actor Christopher Walken as righteousness seeking politician Max Shreck, of ultimate emotional convictions to feel what it means to be split in two lives of existence.Director Tim Burton creates another uniquely received atmosphere of high end staging theater captured on film, when he is able with Warner Bros. provided production budget to build sets of signature-defined splendor that even with flaws in continuity-fighting scenes always turns the corner under an ultra-dark-matter score by composer Danny Elfman into emotions of awe and entertainment satisfactions.© 2017 Felix Alexander Dausend (Cinemajesty Entertainments LLC)

The second Tim Burton directed Batman film, Batman Returns, is a film which denies the right of wonder to be associated with validation. Validation is to approve of something. Wonder is the invalidation of rules. The truth which is in question, is that it's okay to approve of rules being defunct - it's okay to judge that judgement is out of the question.The posit of Batman Returns is that the right to judge judgement is an unusual nature. But, what is the judgement of judgement? Unto itself, judgement is quality. Introduce the movie's posit, and the translation is that the quality of quality is unusual. Quality is a disparity of attention. This makes the quality of quality into a disparate focus which is a disparate focus: Batman Returns is a posit that an unequal focus has no right to be an unequal focus. An unequal focus ought to be an even focus.The argument, intended or not, of Batman Returns is that the act of giving different attentions to different things is supposed to be an equal reality. Is this logical?Let alone disparate focus, just the mere fact of focus is a disparity; so, the actual position of the second Tim Burton film is that a pseudo-state of equality - or a pseudo-state of justice - is something which is supposed to be an understood reality everywhere. Everywhere in reality is meant to understand the validity of false justice - everywhere in reality has an obligation to accept and to vindicate discrimination.Is that even physically possible? Is it physically possible, for all of reality to understand the exact same experience? Reality is founded on difference. Different perceptions, different experiences, different beliefs; it seems fundamentally misguided, and fundamentally out of place to be making an argument that all different beliefs and that all different experiences have the same obligation.Batman Returns is the guiltiness and the moral corruption of the same behaviour permeating throughout reality despite that same reality being an advocate of the validity of universal discrimination. Batman Returns is the nature of unjustifiably glamorising the corruption of actual reality: to dominate other forces despite being equal.And that's not all: another problem that Batman Returns has is that it can't possess magic to its own benefit. In Batman Returns, when magic crops up (the Ice Princess, played by Cristi Conaway) the film's failure is its inability to possess the magic as just a helpful device. The Ice Princess is a type of magic and a type of artistic value who has a monopoly over the effect of the product, which just goes to show how pathetically bankrupt and devoid of accomplishment Batman Returns is