Like Bruce, Riddler, aka Edward Nashton, is an orphan-a child left behind by a cruel world and even crueler man-made systems. This is echoed by the Riddler’s backstory since he very much is intended to mirror Bruce Wayne. (We wrote more on the Riddler’s similarities to the Zodiac Killer here) As we slowly discover, he doesn’t think he’s taunting the Batman like the Zodiac Killer mocked the real San Francisco police force he thinks he’s collaborating with Batman by punishing the city and calling down a veritable biblical flood. Here’s how it came to this.Įvery villain thinks they’re the hero of their own story, and that is rarely more true than for Paul Dano Dano’s sad, and ultimately pathetic, interpretation of the Riddler. After three hours of anguish and violence, it is both a moment of hope and resignation, one that casts everything that came before it in a new light. Rather than an ending, it’s a renewed start, and rather than a tease for romance, it’s a bitter acknowledgement that we-the audience and Pattinson’s Bruce-have only begun to understand what fresh hell we’re in. But the Robert Pattinson version of the same character in this weekend’s The Batman? For the first time in the whole film, he realizes there is something bigger than his own trauma, his own pain, and is only right now truly beginning his caped crusade. In Nolan’s final Batman movie, such a moment was at the last gasp of Bruce Wayne’s war on crime, an admission that he wants to go but cannot. Yet for all the similarities, the context is wholly different. It’s the final scene in Matt Reeves’ sinewy The Batman, and it echoes a similar moment from Christopher Nolan’s The Dark Knight Rises (2012): Catwoman asks Batman to come with her and give up on this hellhole they call a city he refuses.
A Dark Knight and his feline companion stand by a motorcycle, parting ways for what feels like forever-but probably won’t be. We’ve witnessed this scene before in a Batman movie.
This article contains major The Batman spoilers.
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