
The Dark Knight of Gotham City confronts a dastardly duo: Two-Face and the Riddler. Formerly District Attorney Harvey Dent, Two-Face incorrectly believes Batman caused the courtroom accident which left him disfigured on one side; he has unleashed a reign of terror on the good people of Gotham. Edward Nygma, computer-genius and former employee of millionaire Bruce Wayne, is out to get the philanthropist; as The Riddler he perfects a device for draining information from all the... (Full plot summary below)
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The Dark Knight of Gotham City confronts a dastardly duo: Two-Face and the Riddler. Formerly District Attorney Harvey Dent, Two-Face incorrectly believes Batman caused the courtroom accident which left him disfigured on one side; he has unleashed a reign of terror on the good people of Gotham. Edward Nygma, computer-genius and former employee of millionaire Bruce Wayne, is out to get the philanthropist; as The Riddler he perfects a device for draining information from all the brains in Gotham, including Bruce Wayne's knowledge of his other identity. Batman/Wayne is/are the love focus of Dr. Chase Meridan. Former circus acrobat Dick Grayson, his family killed by Two-Face, becomes Wayne's ward and Batman's new partner Robin the Boy Wonder.
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| Deseret News (Salt Lake City)Chris HicksThe motion picture equivalent of a Twinkie, this is simple, high-cholesterol entertainment that doesn't pretend to be anything else. |
| TheMovieReport.comMichael DequinaPluses: Tommy Lee Jones and Jim Carrey as Two-Face and the Riddler, respectively; and the stunning production design. |
| Entertainment WeeklyOwen GleibermanAlthough the film's frenetic rhythm is reminiscent of an "Indiana Jones" picture, visually Schumacher directs it like a musical, turning each image into eye candy, weaving one lush set piece into the next, as if he were the Vincente Minnelli of blockbusters. |
| Aisle SeatMike McGranaghanMore campy than Burton's Batman, but still good. |
| rec.arts.movies.reviewsDragan AntulovWeak plot, complete lack of character development and at least some actors who didn't look particularly interested in their roles. |
| San Francisco ChronicleMick LaSalleIt's an art-direction, Dolby-sound, special-effects extravaganza, a grand-scale effort that's more awe-inspiring than completely successful as entertainment. |
| Dallas ObserverMatt Zoller SeitzUnlike Burton, Schumacher doesn't let his stylistic and thematic fascinations run away with him; he keeps one hand on the wheel at all times. The result isn't as emotionally daring and visually outrageous as Burton at his best, but it's better paced and more consistently entertaining from one sequence to the next. |
| ReelViewsJames BerardinelliIt's lighter, brighter, funnier, faster-paced, and a whole lot more colorful than before. |
| Groucho ReviewsPeter CanaveseThe fatuousness of that title sums up Schumacher's approach. The director allows his few scrupulous choices to be overwhelmed by garish vaudeville. |
| Rolling StonePeter TraversSchumacher's method is to use a lighter touch, to stay closer to the cartoon that Bob Kane created for DC Comics in 1939 and to temper Burton's nightmare world with an accessible, brightly colored TV palette. |