Directed by:
Tim BurtonScreenplay:
Daniel WatersCinematography:
Stefan CzapskyComposer:
Danny ElfmanCast:
Michael Keaton, Danny DeVito, Michelle Pfeiffer, Christopher Walken, Michael Gough, Rick Zumwalt, Michael Murphy, Andrew Bryniarski, Pat Hingle (more)VOD (4)
Plots(1)
Batman the Caped Crusador is pitted against the demented, ravenous Penguin; a pitiful, orphaned psychopathic freak who once went on a baby-killing spree, and a 'power' hungry capitalist villain, Max Shreck. As the two criminals plot to gain domination over Gotham City, Batman must plot to stop them. In the highly stylized Batman Returns, Batman is thrown a third enemy, a terrible distraction: the slinky, sharp-clawed Cat Woman. (Warner Bros. Home Entertainment)
(more)Videos (1)
Reviews (11)
The second part of Batman by Tim Burton is even better in terms of its atmosphere than its predecessor. The only thing missing is music by Prince, which managed to lift my mood a couple of times. But on the other hand, it offers Catwoman wearing a latex suit and a man-penguin and that’s not too bad, either.
()
Unlike Batman, this one still seems quite scary to me, probably due to the character of the Penguin and other twisted inhabitants of Gotham's sewer system. It's more Burton-esque, more twisted, which is evident in the intriguing portrayal of Catwoman as well. I still enjoy this, and Michael Keaton is indeed a very unique Batman, but I still like him.
()
Together with the first two parts of Nolan’s trilogy, this is the best cinematic Batman. Burton’s visual style works better than in the previous one – probably it’s really fitting for the Christmas period, Burton has always been good at finding moral filth and darkness behind a snowy facade. DeVito is great as The Penguin, delivering a solid balance between caricature and a real threat hiding in the sewers and wearing bizarre costumes, and the story also has room for another (semi-)antagonist, the splendid Catwoman (with the magical face of the most beautiful actress of her generation). Batman is only one part of a balanced triangle of characters, he only reacts to the actions of the other two (and it’s the only one with pure intentions). The character of Christopher Walken is also important and brilliant, he’s the one who brings everyone together. The final confrontation was bit a silly and the drama is not very effective, but everything is compensated by the clever relationship structure and an inimitably morbid comic-book style accompanied by Elfman’s music score, a joy to watch. 85%
()
For me, Tim Burton's second Batman is clearly better than the first. And for several reasons. First of all, I love the dark atmosphere, and Burton serves it up much more frequently and also more palatably (I'm not saying digestibly) here compared to the first. The sets and the production design are absolutely perfect, and every shot breathes sophistication and the incredible care with which Burton built each scene. I admit, and also agree with the opinion of others, that it may be harder to digest for some with weaker stomachs, as it is a bit scary at times. The lion's share of the slickness and quality of the whole film is due to Danny Elfman, whose soundtrack is absolutely phenomenal and matches all the features of the second Batman to a tee. If it weren't for Christopher Nolan, this would be the best Batman ever and could hardly ever be topped. But The Dark Knight is The Dark Knight.)
()
This is what it’s like when, after nearly three decades, you look back at a film that made an impression on you in your early teens and you find it surprisingly bizarre, deranged, perverse, oversexed, unique and beautiful. In today’s era of thoroughly planned-out blockbusters that are meticulously controlled for the sake of corporate image despite being marketed as tremendously innovative and original, Burton’s second Batman comes across as a magnificently anti-system achievement. It’s not only that Burton ignores the comic-book canon obsessively guarded by fans, which he quite consciously doesn’t care about. Equipped with a generous budget and creative control, he spins a romantically sick and sleazily beautiful antithesis of various American myths, from the political system to superheroes to Christmas. Batman Returns is like a snowman turned upside down, its bottom revealing the hidden ugly underbelly of the kitschy idyll. With almost operatic sweep, Burton conducts phantasmagorically stylized scenes combining gothic monumentality with the deviance of expressionism. In this world, he lets the circus freaks run riot, as the heroes and villains differ only in that, for various reasons, they cannot give vent to their inner desires. Spandex has been replaced with latex and the masks and costumes do not look like tough armour, but rather like fetishistic outfits in which the characters vainly try to hide their childhood traumas and adult perversions, obsessions and dreams of boundless power from the outside world. However, Burton’s Batman movie isn’t pompously dark and serious like those of the new millennium. In his grotesque vision, bleakness is just as essential as the classic comic-book unseriousness of the slapstick dimension. Like the world depicted in the film, its logic, violence and the antiheroes themselves are cunning, theatrical and childishly spiteful, but also full of grief, pain and a naïve longing for something better. Like all good Christmas movies, this one is about family, belonging and resting in the arms of loved ones. But with the difference that the heroes here can only dream about that.
()
Ads