![]() Then flip to the beginning of the Riddler's backstory, possibly interspersing it with a few bits of present-time Batman to keep the viewer hooked on what's happening. Maybe it starts off with Batman right at the beginning of the main riddle with an encoded prize (which we know is Gordon). Gordon almost becomes our main point of view, even at the end when Batman and Riddler have a showdown over Gordon.Īlternatively, Nolan can do his regular antics and display events out of order. This showcases how Gordon is caught in the middle, and build the tension of balancing his job with his wanting to help Batman. Show how Riddler's actions impact Gordon / Batman, then how Batman's response affect Gordon / Riddler. What might work is an alternating point of view between Riddler and Batman. But for a movie, when you have 2.5 hours to make an impact, spending a whole hour of that without a focus on the good-guy/bad-guy struggle can be really damaging to the experience. The context switch is a pretty cool concept for a game or TV show which can afford the time to correctly fill out the character. It could really highlight the Riddler's feelings of wanting Batman (because the audience would sympathize with missing him, albiet other motives). That said, I really like what Matt is going for narratively. So when the most interesting characters fail to make a noticeable appearance, it hurt the movie more. It doesn't claim to have anyone other than than the titular group of anti-heroes / villains, but it's hard to care about a bad guy even if they're the protagonists. ![]() Kind of makes me think about Suicide Squad, which is seeping with problems, one of which is the noticeable absence of Batman and Joker for most of the movie.
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