To the Batman,

‘The Batman,’ the modern-day moody noir in Gotham City starring Robert Pattinson as Batman and Zoë Kravitz as Catwoman, has risen to the top of the box office and has been acclaimed by many as one of the best adaptations of the comic series. But what has been overlooked is the success of the film’s victoriously haunting and hypnotizing soundtrack.

The score for ‘The Batman’ by Michael Giacchino, classically grasps the darkness and malignant nature of Batman and his enemies. 

The soundtrack opens with ‘Can’t Fight City Halloween,’ after taking place on Halloween, which was stylistic, thematic and set the moody tone. 

Batman voiced morosely, over the piece, that he is the shadows, which then escalates into something more frightening.

The notable ‘The Batman’ by Giacchino evokes exhilaration for the audience by starting out somewhat distant and ominous, the theme alluding to Batman lurking in the shadows, then escalates as if he is slowly coming closer by becoming much more dramatic and powerful. This piece makes Batman seem truly undefeated.

‘Catwoman’ is more romantic and much different than Batman’s theme, stressing a desirous ambiance. This piece is much more melancholic and jazzier than others of Giacchino’s, further contributing to the noir-esque vibe that ‘The Batman’ comprises. 

Though I enjoy Catwoman’s theme, I wish it built into something more ferocious and dramatic. 

Catwoman isn’t a soft character, especially not in her leather catsuit, and I think a theme juxtaposed with the already existing one would have done her character some good. 

However, I do believe the gentler tone of ‘Catwoman’ and ‘Ganikka Girl,’ which slightly introduces Catwoman’s theme, stands out and gives the film a tasteful dynamic.

‘The Riddler’ is wonderfully villainous, starting out suspenseful then building up to sound sinister. It’s very accurate to who his character is. 

‘Moving in for the Gil’ sounds as if the orchestra is made up of serene sirens coming across as very malevolent and thrilling then slowly transcending–or “moving in”–into something much more eerie and dramatic. 

There are also songs, unlike the scores, which matched perfectly with Bruce Wayne and Batman’s sulky demeanor. 

Songs such as ‘Something In The Way’ by Nirvana made an appearance multiple times, striking a brooding grungey feel throughout the movie. This Nirvana song was also used for the trailer, which was surprising but pleasing.

I never imagined Nirvana to star in a movie adaptation of a comic book, but this was surely a fitting choice. It added to the doomy reclusiveness that both Batman and the Riddler shared. 

“And the animals I’ve trapped have all become my pets,” Kurt Cobain, lead of Nirvana, sings which relates specifically to the Riddler and his cages of rats. 

‘Ave Maria’ is played throughout the movie then sung coldly by the Riddler himself toward the end. It’s a Catholic prayer that sounds ghostly yet heavenly when sung and contributes to the Riddler’s confusing and obscure identity. 

‘The Batman’ score flawlessly captures the essence of vengeance and everything Batman is supposed to be. 

This soundtrack conjures up a suspenseful, do-or-die, high-stakes spirit perfecting the moodiness of Bruce Wayne and Gotham City’s terrors while artistically adding to the film noir aspect. 

9/10.