Batman Returns: Critic Reviews

Exhaustingly inventive.

Because the film's predominant motif is that of wounded individuals re-inventing themselves as wily villains, its most memorable episodes are early ones explaining each main character's transformation.

Comes closer than ever to Bob Kane's dark, original strip, which began in 1939.

Like a hyperactive 11-year-old, the director seems both uncomfortable with adult emotions and unable to focus on the overall portrait.

Odd and sad, but not exhilarating.

More of the same, but nowhere near as good (funny, disturbing, obsessive) as the uneven original, revealing arrested development on every level.

Where Burton's ideas end and those of his collaborators begin is impossible to know, but result is a seamless, utterly consistent universe full of nasty notions about societal deterioration, greed and other base impulses.

Burton uses the summer's most explosively entertaining movie to lead us back into the liberating darkness of dreams.

A darkly violent take on the comic-book hero.

Something about the filmmaker's eccentric, surreal, childlike images seems to strike a deep chord in the mass psyche: he makes nightmares that taste like candy.

O design de producao e inspirado e Keaton busca conferir peso dramatico ao heroi, mas o roteiro e pedestre e Pinguim jamais se torna um vilao interessante. Por outro lado, a sensualidade de Pfeiffer quase redime o filme. Quase.

Bigger, better and more sophisticated than the first outing.

The fights and chases are incoherent and over-the-top, with the result being confusion rather than suspense.

This is less of a sequel than reworking of the first film's themes, with greater attention paid to the villains (all colorful and more intriguing than the hero) and more visually inventive set pieces, albeit contained in a less coherent work.

Bigger, louder, more relentlessly action-packed than its predecessor, Batman Returns batters its audience into submission.

A bizarre mixture of poetic brilliance and clumsy ineptitude.

About the only thing it had going for it was Pfeiffer in a catsuit, stiletto heels, with a whip. Wowsers.

The movie in which Tim Burton mostly fixes what he got wrong ... Unfortunately, he also screws up the stuff he got right.

Burton['s] staging is expert, and his character conceptions are distinctive and gratifying.