‘Caped Crusader’ review: Batman's back (and looks far too familiar)

This isn’t your average superhero fare — or at least it’s not the way we’re used to seeing superheroes playing today. The animation is crisp, the colors vivid, and Gotham pulsates with life, the corrupt and shadowy city playing a character in itself. Each episode mostly stands alone, the stories not enslaved to sprawling arcs. It’s a refreshing respite from the serialised slog that superhero media has become. This format lets the series explore diverse themes and storylines without getting tangled in endless subplots.

Bruce Wayne, our ever-brooding billionaire with a bat problem, is rendered with a complexity often absent from his live-action counterparts. He’s a man battling not just Gotham’s gallery of rogues but his considerable inner demons. This Batman is introspective, contemplative, haunted. The series dives into the dichotomy of Bruce Wayne and Batman, peeling back layers through interactions with others. In one piercing scene, Bruce confides to Alfred, “Every time I put on the mask, I feel like I'm losing another piece of myself. But without it, I’m just a man—afraid and alone." This encapsulates Bruce’s existential dread: the mask is both his salvation and his curse.

Characters like Harvey Dent get the spotlight they deserve. Dent’s tragic transformation into Two-Face is depicted with nuance, portraying him as more than a mere villain. The show delves into his friendship with Bruce and the heartbreaking fracture as Harvey succumbs to madness. Bruce’s line, “Harvey, you’re not defined by your scars. You’re defined by how you choose to face them," hits hard, revealing the series’ depth and sensitivity in handling its characters.

Yet Caped Crusader borrows far too heavily from its 90s predecessor. The aesthetic—noir visuals, Art Deco architecture, and familiar character designs—screams homage. It’s as if Timm couldn’t resist the pull of the past, and decided to mount a cover version to his own classic. While the retro vibe is charming, it feels like a missed opportunity to push the envelope and truly innovate. Batman: The Animated Series (streaming in India on Netflix) is still the groundbreaking granddaddy of superhero animation, a show that pushed the envelope that this one merely sticks a stamp upon.

Compared to the recent bleak and joyless portrayals of Batman, this series strikes a delicate balance between darkness and light. The dialogue is hardboiled, and the voice acting is strong. Hamish Linklater’s Batman channels the gravitas of Kevin Conroy while adding his unique edge. Jeffrey Wright’s Jim Gordon and David Bradley’s Alfred are equally compelling, grounding the series with their performances.

Setting the show in the 1940s adds a rich, historical layer to the storytelling. The era’s aesthetic—classic cars, fedoras, and noir sensibilities—imbues the series with a timeless quality. This setting, blending retro charm with modern relevance, scratches the same itch as the acclaimed but canceled HBO series Perry Mason. The grimy streets, morally ambiguous characters, and intricate plots of Caped Crusader echo the old-school noir heart of Perry Mason, making it a treat for fans of both.

Caped Crusader isn’t without its stumbles. The pacing can be inconsistent, with some episodes dragging. It’s like watching a young gymnast with immense potential but occasional missteps — like Dick Grayson, say, before he found Batman. Most  female characters remain underdeveloped. Selina Kyle lacks the depth and agency that should define her; her scenes with Bruce are flat, missing the electric tension these characters deserve to share. Barbara Gordon, introduced with promise, ends up as little more than a plot device, a far cry from the strong, independent character we know she can be.

One of the most bewildering yet fascinating choices is the gender-swapping of the Penguin. Revitalizing Oswald Cobblepot as a female character adds a fresh dynamic, even though the decision to gender-swap that particular character may be seen as baffling, given Colin Farrell’s upcoming Penguin series coming to HBO in September. Still, this brave change breathes new life into the villain, offering a new perspective and adding layers of complexity to the interactions with Batman. Minnie Driver does great voicing her, from the cabaret performance to the bat-mockery. “Virginia, there really is a Batman," she exclaims when she sees him the first time.

In the end, Batman: Caped Crusader honours the character’s roots while struggling to carve its own identity. It’s definitely not a game-changer —  and it may not feel particularly original — but this is a solid entry offering sizeable amusement to both longtime fans and new viewers. It reminds us why Batman is the icon he is, underlining his heroism and his tragedy. In a world as chaotic as Gotham, that’s reassuring. This might not be a bat-signal heralding a new era of Batman animation, but it may be a start. Noir works for Batman. He may be summoned by a giant flashlight but he is a creature of the shadows. 

Streaming Tip Of The Week:

The two most art-deco Batman films are the ones directed by Tim Burton. The iconic Batman (1990) and the gloriously weird Batman Returns (1992) are streaming both on Amazon Prime Video and Apple TV+, and both films are packed with comic and cinematic pleasures. Not to mention the impossibly sexy Batmobile.