# Batman & Robin (1997)

### reviewed by
R.L. Strong

    BATMAN & ROBIN

    Reviewed by R. L. Strong
    Copyright 1997 R. L. Strong

In the continuation of Warner Brother's franchise, Joel Schumacher has successfully killed this cash cow. What makes this film such a grand disappointment is the tremendous line up of talented people involved with the film. Avika Goldsman's screenplay is such a cluttered mess that there is no suspense built from one scene to another. This coming on the heals of such a marvelously written project as "THE CLIENT" is such a shock that it gives rise to thoughts that the latter film was a fluke. Situations are developed and executed with no thought of reason other that to get the characters from one point to another. This is most glaringly brought to point by the appearance of Alicia Silverstone's BATGIRL, who just happens to be Alfred's niece. The story of Dr. Victor Freeze is told almost completely in dialogue as an afterthought. While working on a cure for a tragic decease contracted by his wife, Dr. freeze is injured during a cryogenic procedure, and becomes a man who can only survive in a sub zero environment. Now of course he has become a terrorist intent on turning the world into a frozen planet where only he can live. Now the logic of that little sub-plot escapes me. If Mr. Freeze wanted to find a cure for his wife and bring her back from the brink of death, why would he want to have her live in a world with no warmth. This is indeed a cold hearted man. The development of POISON IVY is no less contradictory. She wants to breed a form of plant life that can defend itself like an animal. She joins with Mr. Freeze in his plan to start a new ice age, destroying all animal life, therefore giving her plant creations no reason to have the defense mechanism she had been trying to breed into them. The characters have no logic. Batman of course is no longer the Dark Knight of the earlier films. Now that he has an adoptive son in Burt Ward / Robin, Bruce Wayne is trying to be a Father figure, constantly spouting out homilies about family and relationships, while at the same time not really having any. George Clooney tries in vain to keep from rolling his eyes while reciting the dialogue given him. To say that his performance is workman-like is to be generous. His best performances are still on "E.R.". Bruce Wayne has the most unromantic evening with his girlfriend (played by Elle Macpherson) , that it brings into question Bruce's latent homosexuality. There is no spark and no passion (as there was for Nicole Kidman's psychologist in "Batman Forever") between Bruce and anyone other than Alfred. And even that relationship is very reserved. Robin comes off less charismatic that in the last film in the series. Now he's just a spoiled kid. In "Batman Forever", Burt Ward wanted to be Batman's partner and friend. Now, Robin is suffering from Ego deficiency. Robin's attraction for Poison Ivy is not believable, except for a boy around the age of 15. His later flirtation with Batgirl smacks of incest, even though they are not related in a traditional sense. Chris O'Donnell, once considered a rising star, successfully burns up on reentry with this performance. His Robin needs nothing more than a good spanking. The less said about Alicia Silverstone's performance the better. This talented young actress reads her lines with all the aplomb of a dubbing actor for a Godzilla film. She was cast strictly for her commercial value and she knew it. This brings us to the villains. Arnold Scharzenegger walks through his part with all the concern of someone waiting for payday. The most rediculous scene is during Mr. Freeze's imprisonment. The guards are at least a foot taller that Arnold and yet fall at his hand in one of the most unbelievable fights scenes caught on film. It's almost as ludicrous as seeing Michael Jackson as a gang member. Umu Thurman struts and coos her way through her part, showing a growing discomfort with her sex symbol status. Her Poison Ivy has all the come hither sex appeal of May West in "Sextette" (1978). The only performances worthy of notice are Pat Hingle and Michael Gough. These two seasoned veterans carry their scenes with a dignity sorely lacking from the rest of the film. Without going through the intricacies of the plot, there is one question that always comes to mind with this series (except for the first "BATMAN"), and that is how do these super villains manage to hire so many thugs only to abandon them at the final reel. Mr. Freeze is introduced with a team of hockey playing hoodlums that seem to have stepped out of an old KISS music video. Every villain (even the minor ones) have to have a LOOK, no one can be an individual with day glow paint on their face or some sort of elaborate costume. With this film, Warner Brothers has succeeded in retrograding the series back to it's TV incarnation. The only thing missing from the action scenes are the superimposed titles detailing the POWs!, GWAAAA's, and CLANG's associated with the old series. You almost wonder if William Dozier, producer of the TV series is collecting royalties from this film. The special effects (by John Dykstra) and Production Design (by Barbara Ling) are the primary stars of this film. And it is a case of extravagance in the pursuit of nothing. Every set, from Ivy's lair, the Batcave, to Freeze's hideout is set with enough neon and fiberglass to keep the EPA in paperwork for years to come. There is no one realistic set or set piece in the film. Everything is set for maximum exposure. The special effects have that strange cartoon look that most rushed CGI effects have. There are homage thrown in by Dykstra and his team to Gene Warren and his work on "The Time Machine" (the growing plant scene) but these scenes are so wroth with glaring color and art that they are almost obscured. Joel Schumacher has directed the film with no flair. Camera angles are poorly chosen rehashing set ups from the old TV series. Master shots pepper the action scenes, destroying any flow of kinetic quality they may have had. Mr. Schumacher is a good Director. One just has to look back on the films "The Lost Boys", "Cousins" (an underrated film) and "The Client" to know that. But "Batman and Robin" comes off as a mated made for TV movie. The film has no style of individuality. It is the cinematic equivalent to Jell-O, pretty to look at, but empty.

It is unfortunate that this film, even with it's surprisingly strong box office has succeeded in doing what Warner's thought Tim Burton would do with the franchise. Kill it. Joel Schumacher's "BATMAN & ROBIN" is loud, colorful, action packed, and ultimately.. boring. * out of ***** stars.

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