Batman Begins review

The 1990s were not a good time for Batman. After Tim Burton's impressive and stylish 1989 film the series went slowly downhill, with fans of the caped crusader let down by increasingly poor offerings. The nadir was probably the two films by Joel Schumacher, notably Batman and Robin in 1997 when an ill-suited George Clooney dealt with Arnold Schwarzenegger's truly lamentable Mr. Freeze. This seemed to put the nail in the coffin as far as the franchise was concerned, but fans (and indeed anyone with a mild interest in the Batman's antics) can breathe a sigh of relief. Christopher Nolan's new film signals the beginning of a new era for Gotham's finest crimefighter. Not only is it the best summer blockbuster in recent memory - by quite a long way - but Batman Begins actually has a claim to be the greatest superhero movie ever made.

This is a hugely impressive work: exhilarating, fascinating, beautifully shot and for those who may be worried that it is too dark, surprisingly full of humour. Nolan (who co-wrote the script with David Goyer) takes us on a slow psychological journey to the heart of Batman's origins. It's a story that is familiar to most viewers - as a young boy Bruce Wayne witnesses the brutal slaying of his parents and vows to seek revenge. Thanks to an opening that isn't too sentimental and a lovely performance by Gus Lewis as the young Bruce, his quest becomes utterly believable.

In a change from anything that has been hinted at before, the adult Bruce (Christian Bale) takes himself around the world to find his own heart of darkness. Infiltrating criminal gangs, he learns what it's like to live on the other side of the street until finally he is jailed in a remote corner of Asia, only to be rescued again by the mysterious Henri Ducard (Liam Neeson). A member of the infamous League of Shadows, Ducard trains Bruce in the ways of his order until finally he is ready to go back to Gotham and rid the town of evil.

Once back in the city, Bruce sets about accomplishing several things. He has to prevent his father's company being sold by the new man in charge (Rutger Hauer), try and reignite his relationship with his childhood sweetheart Rachel (Katie Holmes), and most importantly take down the people responsible for his parents' death. To do this of course he needs the help of his butler Alfred (Michael Caine), and an array of the finest weapons money can buy. Enter Morgan Freeman as Lucius Fox, straight out of the James Bond Q school of gadgetry.

The star-laden cast delivers in spades, with Bale confirming himself as one of Britain's leading stars with a persuasive performance that is at times sad, at times funny, and at times downright mean. Giving excellent support is Caine as the snappy Alfred, always ready with a witty one-liner. Freeman is relaxed and enjoyable as Fox, Hauer makes a welcome return to the mainstream, and Cillian Murphy is excellent as the young lawyer Jonathan Crane. And that's not to mention the fine work put in by the likes of Gary Oldman and Tom Wilkinson. The only unconvincing note comes from Holmes as the love interest and Liam Neeson's disconcerting Fu Manchu beard.

Minor quibbles apart (and it's worth noting that most of the cast and the director hail from the British Isles), it's a terrific film that will bear re-watching, and sets a new standard in the genre. The final scene leaves the door open for a sequel but Nolan, who now cements his reputation as one of the world's leading directors, may find it hard to trump this success.

Paul Hurley