| Batman Returns | |
|---|---|
 Theatrical release poster byJohn Alvin | |
| Directed by | Tim Burton |
| Screenplay by | Daniel Waters |
| Story by |
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| Based on |
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| Produced by |
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| Starring | |
| Cinematography | Stefan Czapsky |
| Edited by | Chris Lebenzon |
| Music by | Danny Elfman |
Production companies | |
| Distributed by | Warner Bros. |
Release dates |
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Running time | 126 minutes |
| Country | United States |
| Language | English |
| Budget | $50–80 million |
| Box office | $266.8 million |
Batman Returns is a 1992 Americansuperhero film directed byTim Burton and written byDaniel Waters. Based on theDC Comics characterBatman, it is the sequel toBatman (1989) and the second installment in theBatman film series (1989–1997). The cast includesMichael Keaton,Danny DeVito,Michelle Pfeiffer,Christopher Walken,Michael Gough,Pat Hingle, andMichael Murphy. The film follows Batman as he confronts corrupt businessman Max Shreck and malformed crime bossOswald Cobblepot / the Penguin, whose bid for power threatensGotham City. Their schemes are further complicated by Shreck's former secretarySelina Kyle, who seeks revenge against him as Catwoman.
Burton was initially uninterested in directing a sequel toBatman, feeling creatively constrained byWarner Bros.' expectations. He agreed to return only after being granted greater creative control, which included replacing original writerSam Hamm with Daniel Waters and reuniting with many of his previous collaborators. Waters's script emphasized characterization over plot, andWesley Strick was later hired for an uncredited rewrite that added, among other elements, a master plan for the Penguin. Filming took place from September 1991 to February 1992 on a budget of $50–80 million, primarily on sets and soundstages atWarner Bros. Studios and theUniversal Studios Lot in California. The film's special effects relied mainly on practical techniques and makeup, supplemented with animatronics, limitedcomputer-generated imagery, and dozens of live penguins.
The film's marketing campaign was extensive, featuring brand tie-ins and merchandise intended to replicate the financial success ofBatman. Released on June 19, 1992,Batman Returns broke several box-office records and grossed $266.8 million worldwide, becoming thesixth-highest-grossing film of 1992, but fell short ofBatman in overall success and longevity. The darker tone, along with violent and sexual content, was cited as alienating family audiences and prompted backlash against marketing partners for promoting the film to children. Critical reception was polarized, though most reviewers praised the principal cast.
Following the mixed reception ofBatman Returns, Burton was replaced byJoel Schumacher as director ofBatman Forever (1995), which was developed with a more family-friendly tone. Keaton declined to return, citing creative differences with Schumacher.Batman Forever and its sequel,Batman & Robin (1997), performed well financially but received weaker critical responses. In the years since its release,Batman Returns has been reappraised as one of the strongestBatman films, with its portrayal of Catwoman regarded as iconic. The story was revisited in the comicBatman '89 (2021), and Keaton later reprised his version of Batman inThe Flash (2023).
InGotham City, two wealthysocialites, horrified by the birth of their malformed and feral sonOswald, abandon him in the sewers, where he is taken in by a colony of penguins. Thirty-three years later, during the Christmas season, wealthy industrialist Max Shreck is abducted by the Red Triangle Gang—former circus performers implicated in child disappearances across the country—and taken to their hideout in the abandoned Arctic exhibit at Gotham Zoo. Their leader, Oswald, now known as the Penguin, blackmails Max with evidence of his corruption and murders, coercing him into helping Oswald re-enter Gotham's high society. Max stages the kidnapping of the mayor's infant child, allowing Oswald to "rescue" it and become a public hero. In return, Oswald requests access to the city's birth records, claiming he seeks to uncover his true identity by investigating Gotham's first-born sons.
Max attempts to kill his timid secretary,Selina Kyle, by pushing her out of a window after she discovers his plan to build a power plant that would secretly drain and store Gotham's electricity. Selina survives, returns home, crafts a costume, and adopts the persona ofCatwoman. To Max's surprise, she reappears at work with newfound confidence and assertiveness, immediately attracting the attention of visiting billionaireBruce Wayne. As the vigilanteBatman, Bruce begins investigating Oswald, suspecting his ties to the Red Triangle Gang. Seeking to remove opposition to his power plant, Max convinces Oswald to run for mayor and discredit the incumbent by unleashing the gang on Gotham. Batman's efforts to quell the violence bring him into conflict with Catwoman, while in their civilian lives Selina and Bruce begin a romance. Meanwhile, Catwoman allies with Oswald to smear Batman's reputation.
During Gotham's Christmas-tree lighting, Oswald and Catwoman kidnap Gotham's beauty queen, the Ice Princess, and lure Batman to a rooftop above the ceremony. Oswald pushes the Ice Princess to her death with a swarm of bats, framing Batman. When Catwoman objects to the murder and rebuffs Oswald's sexual advances, he attacks her, sending her crashing through a glasshouse. Batman escapes in theBatmobile, unaware that the Red Triangle gang has sabotaged it, allowing Oswald to take it on a remote-controlled rampage. Before regaining control, Batman records Oswald's insulting tirade against Gotham's citizens and later plays it during Oswald's mayoral rally, destroying his public image and forcing him to retreat to Gotham Zoo. There, Oswald renounces his humanity, fully embracing his identity as the Penguin, and sets his plan in motion to abduct and kill Gotham's first-born sons as revenge for his own abandonment.
Selina attempts to kill Max at his charity ball, but Bruce intervenes, and the two inadvertently discover each other's secret identities. Penguin crashes the event intending to kidnap Max's son, Chip, but Max offers himself instead. Batman disrupts the Red Triangle gang and halts the kidnappings, prompting the Penguin to unleash his missile-equipped penguin army to destroy Gotham. Batman's ally,Alfred Pennyworth, overrides the control signal, redirecting the penguins back to Gotham Zoo. As the missiles obliterate the zoo, Batman unleashes a swarm of bats, causing the Penguin to fall into the toxic waters of the Arctic exhibit. Catwoman confronts Max, rejecting Batman's plea to abandon her revenge and leave with him. Max shoots Batman, incapacitating him, and then shoots Catwoman multiple times, but she survives, claiming she hastwo of her nine lives left. Catwoman electrocutes Max with a live cable, causing a power surge that appears to kill them both; however, Batman finds only Max's remains. The Penguin emerges one last time but succumbs to his injuries, with his penguins carrying his body into the water.
Sometime later, while traveling home, Bruce spots Selina's silhouette but finds only a cat, which he takes with him. TheBat-Signal shines above the city as Catwoman gazes up at it.
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The cast ofBatman Returns includesAndrew Bryniarski as Max's son Charles "Chip" Schreck andCristi Conaway as the Ice Princess, Gotham's beauty queen-elect.[13][14][15]Paul Reubens andDiane Salinger appear as Tucker and Esther Cobblepot, Oswald's wealthy, elite parents.[16]Sean Whalen appears as a paperboy;[15]Jan Hooks andSteve Witting play Jen and Josh, Oswald's mayoralimage consultants.[17][18][19]
The Red Triangle gang includes the monkey-toting Organ Grinder (Vincent Schiavelli), the Poodle Lady (Anna Katarina), the Tattooed Strongman (Rick Zumwalt), the Sword Swallower (John Strong), the Knifethrower Dame (Erika Andersch), the Acrobatic Thug (Gregory Scott Cummins), the Terrifying Clown (Branscombe Richmond), the Fat Clown (Travis Mckenna), and the Thin Clown (Doug Jones).[15][20][21]
Following the success ofBatman (1989), which became the fifth-highest-grossing film of its time, a sequel was considered inevitable.Warner Bros. Pictures began discussing a follow-up by late 1989, with plans to start filming the next May.[a] The studio wantedRobin Williams andDanny DeVito to portray theRiddler and Penguin, respectively,[23] and invested $2 million in acquiring the Gotham City sets atPinewood Studios in England, intending to reuse them for at least two sequels. The sets were placed under 24-hour surveillance, as maintaining them was more cost-effective than rebuilding.[23] Despite Warner Bros.' pressure to secure a script and begin production, directorTim Burton was hesitant to return.[23][9][25] He described the idea of a sequel as "dumbfounded", particularly before the first film's box-office performance could be assessed.[23][25][26] Burton was skeptical of sequels in general, believing they were only worthwhile if they offered something new and different.[23][26]
Batman writerSam Hamm's initial story treatment expanded on district attorneyHarvey Dent—played byBilly Dee Williams inBatman—and charted his transformation into the supervillainTwo-Face. Warner Bros., however, pushed for the Penguin as the primary antagonist, whom Hamm believed the studio regarded as Batman's most recognizable foe after theJoker. Catwoman was also added because Burton and Hamm were interested in the character.[25] Hamm's drafts followed directly fromBatman, continuing Bruce Wayne's relationship with Vicki Vale (Kim Basinger) and leading to their engagement.[9][25] His Penguin was depicted as an avian-themed criminal who weaponized birds, while Catwoman was portrayed as more overtly sexual, clad in "bondage" attire, and casually murdering groups of men.[25]
The story paired Penguin and Catwoman in a plot to frame Batman for the murders of Gotham's wealthiest citizens while pursuing a hidden treasure, which ultimately drew them to Wayne Manor and uncovered the Wayne family's secret past. Hamm also introduced the Christmastime setting and includedRobin, Batman's sidekick, though his idea ofassault rifle-wieldingSantas was discarded. In Hamm's drafts, Batman avoided killing and concentrated on protecting Gotham's homeless.[9][25] Ultimately, his two scripts failed to reignite Burton's interest,[25][26] and the director instead focused onEdward Scissorhands (1990) and co-writingThe Nightmare Before Christmas (1993).[9]
Burton was confirmed to direct the sequel in January 1991, with filming planned to begin later that year for a 1992 release.[27] His decision was influenced by the 1989 departure ofBatman producersPeter Guber andJon Peters toColumbia Pictures, as Burton had been frustrated by the level of creative control they exercised over the first film.[28] He agreed to return only after securing greater creative authority, later admitting thatBatman was his least favorite of his films, describing it as "occasionally boring."[9][25][29] According to long-time collaboratorDenise Di Novi, "Only about 50% ofBatman was [Burton]", and Warner Bros. wantedBatman Returns to be "more of a Tim Burton movie ... [a] weirder movie but also more hip and fun."[29]
Burton brought in several long-time collaborators to replace key members of the originalBatman crew, including cinematographerStefan Czapsky, production designerBo Welch, creature-effects supervisorStan Winston, makeup artistVe Neill, and art directors Tom Duffield and Rick Henrichs.[30] He hiredDaniel Waters to replace Hamm, preferring a writer with no emotional attachment toBatman. Burton admired Waters's script for the dark comedyHeathers (1988), which reflected the darker tone and creative direction he envisioned for the sequel.[25][26][29] Burton reportedly clashed with Peters, demoting him to executive producer and largely excluding him from the set.[9] Warner Bros. served as the production company and distributor, with additional support from executive producer Guber and Peters'sPolygram Pictures.[31][32]
Waters began work on his first draft in mid-1990.[33] Burton's only guidance was that the script should avoid connections to the previousBatman, aside from a brief reference to Vale as Wayne's former partner, and that Catwoman should be developed with more depth than the typical sexy vixen archetype.[22][34][35] Waters, who disliked the 1989 film, ignored its narrative threads and comic-book history, focusing instead on artistic expression.[25][34][35] Unlike Hamm, Waters did not object to Batman killing, arguing that the character should reflect darker contemporary sensibilities and that relying on authorities to handle captured villains felt outdated.[25] Even so, he limited Batman's lethal actions to moments that served the story. He also expressed dissatisfaction with unscripted additions, such as the scene where Batman blows up a Red Triangle gang member.[8]
Keaton had Waters remove jabs at the 1989 film's merchandising, including an opening on a merchandise store, saying, "[This] is very clever. Cut it."[36] Waters's dialogue for Batman, described as "bitter and cynical"—including lines suggesting Gotham City was unworthy of protection—was pared back because Keaton felt Batman should speak as little as possible in costume, and Burton preferred to portray the character as motivated by trauma rather than nihilism.[8][34][37]
As a result, the script focused on the villains. Burton said he initially struggled to understand the appeal of the Penguin's comic-book counterpart; Batman, Catwoman, and the Joker had clear psychological profiles, but the Penguin was "just this guy with a cigarette and a top hat".[25] The initial draft portrayed him as a stereotypical DeVito character—an abrasive gangster—but Waters and Burton agreed to make him more "animalistic".[33] They decided to present the Penguin as a tragic figure, abandoned as an infant by his parents, mirroring Batman's childhood trauma of losing his own parents.[25] Political and social satire was incorporated, influenced by two episodes of the 1960s television seriesBatman ("Hizzoner the Penguin" and "Dizhonner the Penguin"), in which the Penguin runs for mayor.[9][25] Waters reimagined Hamm's Catwoman, shifting her from a "fetishy sexual fantasy"femme fatale to a working-class, disenchanted secretary, writing her as an allegory of contemporary feminism.[25][26]
Waters created Max Shreck—an original character named after actorMax Schreck—to replace Harvey Dent/Two-Face.[25][26] Shreck was written satirically, an evil industrialist who orchestrates the Penguin's mayoral campaign, to show that true villains do not always wear costumes. In one draft, he was depicted as the Penguin's favored brother.[9][25] With four central characters to develop, Waters and Burton removed Robin, a garage mechanic who aids Batman after the Penguin crashes the Batmobile, describing the character as "worthless".[25][30] The Red Triangle gang, initially conceived as a troupe of performance artists, was changed to circus clowns at Burton's request.[38]
Waters said his 160-page first draft was too outlandish and would have cost $400 million to produce, prompting him to adopt a more restrained approach.[33] His fifth and final draft focused on characterization and interactions rather than plot.[b] Burton and Waters eventually fell out over disagreements about the script, particularly Waters's refusal to make requested changes.
Burton hiredWesley Strick to streamline Waters's lengthy script, condense dialogue, and lighten the tone.[37] Warner Bros. executives required Strick to include a master plan for the Penguin, leading to the addition of a plot involving the kidnapping of Gotham's first-born sons and the threat of missile attacks.[25][34][40] Strick delivered his draft in August 1991.[28] Waters described the changes as relatively minor but expressed confusion over the Penguin's master plan.[22][34][37] He made a final revision to Strick's shooting script, and although Strick was on set for four months and involved in agreed-upon rewrites, Waters was the sole credited screenwriter.[22][34][41]
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Michael Keaton reprised his role as Bruce Wayne / Batman for $10 million, double his salary forBatman.[25][26][42] Burton initially wantedMarlon Brando to play the Penguin, but Warner Bros. preferredDustin Hoffman.Christopher Lloyd andRobert De Niro were also considered, with Danny DeVito emerging as the frontrunner after Waters reimagined the character as a deformed human-bird hybrid.[22][26][43] DeVito was initially hesitant to accept the role until persuaded by his close friendJack Nicholson, who had portrayed theJoker inBatman.[26][43] To communicate his vision, Burton showed DeVito a painting he had created of a small character sitting on a red-and-white striped ball, captioned: "my name is Jimmy, but my friends call me the hideous penguin boy."[8][25][40]
Casting Selina Kyle / Catwoman proved challenging.[25][40]Annette Bening was initially cast in the role but had to withdraw due to pregnancy. Other actresses considered includedEllen Barkin,Cher,Bridget Fonda,Jennifer Jason Leigh,Madonna,Julie Newmar,Lena Olin,Susan Sarandon,Raquel Welch, and Kim Basinger. The most notable contender wasSean Young, who had been cast as Vale inBatman before an injury prevented her from performing.[c] Young reportedly visited the Warner Bros. lot in a homemade Catwoman costume for an impromptu audition with Burton, who allegedly hid under his desk, while Keaton and producerMark Canton briefly met with her. She also showcased her costume onEntertainment Tonight and pitched it onThe Joan Rivers Show. Warner Bros. ultimately decided that Young did not align with their vision for Catwoman.[d]
The role went toMichelle Pfeiffer, who was regarded as a proven actress and someone who worked well with Burton, although some publications suggested the role would challenge her acting range.[8][26][44] Pfeiffer had also been considered for the role of Vale inBatman, but Keaton vetoed her casting due to their previous romantic relationship, believing her presence could interfere with attempts to reconcile with his wife.[47] She received a $3 million salary—$2 million more than Bening—plus a share of the film's gross profits.[e] Pfeiffer trained for several months in kickboxing with her stunt double,Kathy Long, mastering the whip and becoming skilled enough to perform many of her own stunts with it.[f]
Shreck's appearance was modeled onVincent Price in an unspecified older film, while Walken based his performance on moguls such asSol Hurok andSamuel Goldwyn.[5][8] Walken said, "I tend to play mostly villains and twisted people. Unsavory guys. I think it's my face, the way I look."[51]Burgess Meredith, who portrayed the Penguin in the 1960s TV series, was originally scheduled to cameo as Penguin's father, Tucker Cobblepot, but became ill during filming. He was replaced by Paul Reubens, while Diane Salinger played Tucker's wife, Esther. Both had previously appeared in Burton's feature-film debut,Pee-wee's Big Adventure (1985).[9][26][52]
Although Robin was removed from the final screenplay, the character's development had progressed far enough thatMarlon Wayans had already been cast (Burton had specifically wanted an African-American Robin), and costumes, sets, and action figures were created. In a 1998 interview, Wayans said that he continued to receive residual checks under the two-film contract he had signed.[g] Early reports suggested that Nicholson had been asked to return as the Joker, but he allegedly declined to film in England due to foreign salary taxes. Nicholson, however, denied being asked, believing that Warner Bros. would not want to replicate the generous compensation he had received forBatman.[54][55][56]
Principal photography began on September 3, 1991.[51][52][57] Burton wanted to film in the United States with American actors, believing thatBatman, which had been shot in the United Kingdom, had "suffered from a British subtext."[h] Changes in the economics of filming in the UK also made it more cost-effective to remain in the U.S.[30] This decision required abandoning the Pinewood Studios sets in favor of Burton's new designs.Batman Returns was filmed almost entirely on up to eight soundstages atWarner Bros. Studios, Burbank, California, including Stage 16, which housed the expansive Gotham Plaza set.[i] Stage 12 at theUniversal Studios Lot was used for the Penguin's Arctic-exhibit lair.[j] Warner Bros. maintained a high level of security to avoid details leaking forBatman Returns Cast and crew wore ID badges branded with the film'sworking title,Dictel, a word coined by Welch and Burton meaning "dictatorial", as they were unhappy with the studio's "ridiculousgestapo" measures.[59]
Some sets were kept very cold for the liveEmperor,black-footed, andKing penguins.[8][22][26] The birds were transported in a refrigerated airplane for filming and housed in a chilled waiting area with a swimming pool stocked daily with half a ton of ice and fresh fish.[8][26] DeVito stated that, although he generally enjoyed being on set, he disliked the cold conditions and was the only cast member somewhat comfortable due to the heavy padding in his costume.[8] The penguin army was created using live penguins supplemented by puppets, forty Emperor-penguin suits worn by little people, andcomputer-generated imagery (CGI).[8][22]People for the Ethical Treatment of Animals (PETA) protested the use of real penguins, citing concerns over moving the birds from their natural environment. While the organization later acknowledged that the penguins were not mistreated, it criticized the lack of fresh drinking water, noting they were confined to a small chlorinated pool.[22][60] PETA also objected to the penguins being fitted with prop weapons and gadgets, which Warner Bros. stated were lightweight plastic.[61] Burton himself expressed a reluctance to use live animals, emphasizing his care and concern for their treatment.[62]
Walken described the filming process as highly collaborative, recalling that his suggestion to add a blueprint for Shreck's power plant led to a model being constructed within hours.[8] The scene in which Catwoman places a live bird in her mouth was performed live, with no CGI, and Pfeiffer later remarked that she would not perform the stunt again, given the potential risks of injury or disease.[8] For a sewer scene, handlers positioned above and below guided an organ-grinder monkey carrying a note for the Penguin. When the monkey saw DeVito in full costume and makeup, it lunged at him. DeVito recalled, "The monkey looked at me, froze, and then leapt right at my balls ... Thank god it was a padded costume."[63] A scene depicting the explosion of Shreck's superstore resulted in minor injuries to four stuntmen.[22] Principal photography concluded on February 20, 1992, after 170 days.[22]
Batman Returns' production design and visual style were reimagined by Bo Welch, replacing the lateAnton Furst and bringing a darker, expressionist aesthetic after collaborating with Burton onBeetlejuice (1988) andEdward Scissorhands.[5][26][35] Welch designed key props such as theBatskiboat and Penguin's umbrellas, introduced a "Batmissile" mode for the Batmobile, and oversaw large-scale sets including Gotham Plaza and Penguin's lair.[35][64]
Influenced byGerman Expressionism—a 1920s cinematic style defined by harsh shadows, distorted architecture, and psychological intensity—as well asneo-fascist architecture (includingNazi Germany-era styles), AmericanPrecisionism painters, and street-level imagery of homelessness in affluent areas, production designer Bo Welch used miniatures and exaggerated verticality to create a decaying, alienating Gotham.[22][35][65] Welch, a trained architect, structured the city on a grid of strong vertical lines, emphasizing huge skyscrapers that transform streets into dark canyons to evoke a sense of victimization and oppression.[35][66] He researched the look by studying fascist architecture from the Third Reich andworld's fairs, styles he felt were "evocative of oppressive bureaucracies and dictatorships", to design the monolithic Gotham Plaza.[66][67] Welch further drew upon Precisionism, a movement known for using hard outlines, solid shadows, and slick, impersonal surfaces to lend industrial subjects an epic character, citing the work ofCharles Sheeler andGeorgia O'Keeffe as specific influences.[66] He also incorporated Burton's early sketch of Catwoman, with a 'very S&M kind of look', by integrating steel and chain elements into the set, creating the impression of a city collapsing in on itself.[35][22]
Costume designersBob Ringwood and Mary Vogt updated the Batsuit with a mechanical look and created a fragile latex Catwoman suit requiring numerous backups.[22][68][69] DeVito's Penguin relied on extensive prosthetics byStan Winston Studio, including black saliva for grotesque effect, and the team built thirty animatronic penguins supplemented with actors and digital effects.[70][71][22]
Post-production was intense, with some effects shots conceived just weeks before the June 19, 1992 release.[72] The visual effects workload ultimately encompassed around 115 shots, employing matte paintings, miniatures, CGI, makeup, puppets, and pyrotechnics, handled by six major effects houses including Stan Winston Studio,Boss Film Studios, andMatte World Digital.[72][31]
Chris Lebenzon edited the 126-minute theatrical cut ofBatman Returns.[7][17][73] The post-production period was rushed, forcing Burton to present a cut to studio executives only four weeks after filming wrapped—far shorter than his typical editing timelines.[74]
The final scene of Catwoman looking up at the Bat-Signal was filmed during post-production, just two weeks before release. Warner Bros. mandated the scene—showing that Catwoman survived—aftertest audiences responded positively to Pfeiffer's performance. Pfeiffer was unavailable, so a stand-in was used.[k] Although the character draws on feline mythology—such as cats having nine lives—Waters and Burton never intended the supernatural elements to be taken literally and Catwoman was planned to definitively die alongside Shreck.[8][78] A scene showing Penguin's gang destroying a store filled with Batman merchandise was also removed.[25]
Warner Bros. provided a final budget of $55 million forBatman Returns, though other sources have cited estimates of $50 million, $65 million, $75 million, or $80 million.[l][ii]
Danny Elfman was initially reluctant to scoreBatman Returns because he was unhappy that hisBatman score was supplemented with pop music byPrince.[8] Elfman built on many of hisBatman themes, and said that he enjoyed working on the Penguin's themes the most because of the character's sympathetic aspects, such as his abandonment and death.[8][83] Recorded with a studio orchestra on the Sony Scoring Stage in Los Angeles, Elfman's score includes vocals, harps, bells, xylophones, flutes, pianos, and chimes.[84][85] Burton and Elfman fell out during production due to the stress of finishingBatman Returns on time, but reconciled shortly afterward.[86]
The song "Face to Face", played during the costume-ball scene, was co-written and performed by the British rock bandSiouxsie and the Banshees.[85]
By the summer theatrical season of 1992 (starting the last week of May), the film industry faced low ticket sales, rising production costs, and several box-office failures from the previous year.[87] Eighty-nine films were scheduled for release, includingA League of Their Own,Alien 3,Encino Man,Far and Away,Patriot Games, andSister Act.[24][79][87] Studios had to carefully plan releases to avoid competition from anticipated blockbusters, such asLethal Weapon 3,Batman Returns, and the1992 Summer Olympics.[79]Batman Returns was predicted to be the summer's biggest hit, causing other studios to worry about scheduling films even a few weeks from its premiere.[79][88]Paramount Pictures reportedly increasedPatriot Games' budget by $14 million to make it more competitive withBatman Returns andLethal Weapon 3.[79][87]
Franchising had not been a major focus forBatman prior to its release, but after merchandise generated roughly $500 million of the film's $1.5 billion total earnings, it became a priority forBatman Returns.[8][9][89] A 12-minute promotional reel debuted atWorldCon in September 1991, alongside a black-and-white poster of a silhouetted Batman, which was deemed "mundane" and uninspiring by industry professionals.[22][65] Warner Bros. delayed major promotion until February 1992 to avoid over-saturation and alienating audiences.[65][89][90] A trailer rolled out in 5,000 theaters that month, accompanied by a new poster showing a snow-swept Batman logo.[22][65] The campaign focused on the three central characters—Batman, Penguin, and Catwoman—which Warner Bros. believed would offset the absence of the popular Nicholson.[87][90] Over two-thirds of the 300 public posters were stolen, prompting Warner Bros. to offer 200 limited-edition posters for $250, signed by Keaton, who donated his earnings to charity.[22][90][91]
Marketing expenditures were expected to exceed $100 million, including $20 million by Warner Bros. for commercials and trailers and $60 million by merchandising partners. These partners—includingMcDonald's,Ralston Purina,Kmart,Target Corporation,Venture Stores, andSears—planned roughly 300 in-store Batman shops.[22][89][90] McDonald's converted 9,000 outlets into Gotham City restaurants, featuring Batman-themed packaging and a cup lid that doubled as a flying disc.[89]CBS aired the television specialThe Bat, The Cat, The Penguin ... Batman Returns, whileChoice Hotels sponsored the hour-longThe Making of Batman Returns.[22][89] TV ads depicted Batman and Catwoman fighting over a can ofDiet Coke, with the Penguin (and his penguins) promoting Choice Hotels, and additional advertisements ran on billboards and in print—sometimes across three consecutive newspaper pages—targeting older audiences.[90]
Batman Returns premiered on June 16, 1992, atGrauman's Chinese Theatre in Hollywood. Two blocks ofHollywood Boulevard were closed for more than 3,000 fans, 33 TV film crews, and 100 photographers. A party followed on the Stage 16 Gotham Plaza set, attended by the cast and crew, as well asArnold Schwarzenegger,Faye Dunaway,James Caan,Mickey Rooney,Harvey Keitel,Christian Slater, andJames Woods, among others.[58]
The film had a limited preview release in the U.S. and Canada on Thursday, June 18, grossing $2 million.[8][24][82] It expanded widely the following day, playing on an above-average 3,000 screens across 2,644 theaters.[8][24][92]Batman Returns grossed $45.7 million in its opening weekend, breaking the record set byBatman ($42.7 million), and debuted as the number-one film, toppingSister Act ($7.8 million in its fourth weekend) andPatriot Games ($7.7 million in its third).[24][92][93]Batman Returns was the first feature film released inDolby Stereo Digital, in select theaters, marking a milestone in cinema audio technology that later became synonymous with surround sound in theaters.[94][95]
Early analysis suggestedBatman Returns could become one of the highest-grossing films of all time. Warner Bros. executiveRobert Friedman noted, "We opened it the first real weekend when kids are out of school. The audience is everybody, but the engine that drives the charge are kids under 20."[24]Patriot Games producerMace Neufeld observed that other films benefited from overflow audiences who avoided long lines or sold-out screenings ofBatman Returns.[24]
Batman Returns grossed $25.4 million in its second weekend—a 44.3 percent drop—yet remained the number-one film ahead of the debutingUnlawful Entry ($10.1 million) andSister Act ($7.2 million).[96][97] By its third weekend, it became the second-fastest film to reach $100 million (11 days), behindBatman (10 days).[98] It held the top spot with $13.8 million (a 45.6 percent drop), narrowly edging out the debuts ofA League of Their Own ($13.7 million) andBoomerang ($13.6 million).[97][99]The Washington Post described its steep week-to-week declines as concerning, and industry analysts suggested thatBatman Returns would struggle to match the theatrical longevity ofBatman.[97][22] The film exited the top ten highest-grossing films by its seventh week and concluded its 18-week run in late October with a total U.S. and Canada gross of $162.8 million.[100][101] This made it the third-highest-grossing film of 1992, behindHome Alone 2: Lost in New York ($173.6 million) andAladdin ($217.3 million).[102]
Outside the U.S. and Canada,Batman Returns grossed $104 million,[103] setting U.K. records for the highest-grossing opening weekend (£2.5 million) and single-day gross (£1.1 million).[97][104][105]
Worldwide,Batman Returns grossed $266.8 million,[iii] making it the sixth-highest-grossing film of 1992, ahead ofA Few Good Men ($243.2 million) and behindLethal Weapon 3 ($321.7 million).[103]
Batman Returns drew a polarized response from critics and audiences, with its darker tone and mature content proving divisive.[5][22][106]CinemaScore polling reported an average grade from audiences of B on an A+-to-F scale.[107]
Some reviewers, includingJanet Maslin andDesson Howe, compared the sequel favorably toBatman, citing faster pacing, increased humor, and greater character depth, which avoided the original's "dourness" and "tedium".[m] Maslin andDave Kehr emphasized that Burton's creative control madeBatman Returns a more personal and "fearlessly" distinctive work.[109][112] Critics such asKenneth Turan commended the film's visuals but argued that the emphasis on spectacle sometimes made it feel cheerless and claustrophobic, occasionally at the expense of the plot.[7][81][111]Owen Gleiberman suggested that Burton's imaginative flourishes were undermined by a lack of grounding in normality.[7]
The narrative received mixed reactions. Howe and Turan praised the film for adding emotional depth to its characters, particularly Catwoman and the Penguin, though Turan noted a lag in pacing midway.[108][81] In contrast, McCarthy found the story cluttered, with too many plotlines diminishing momentum.[110] Gleiberman similarly argued that the numerous storylines created a sense of disjointedness.[7] Critics generally agreed that the first two acts were more compelling than the finale, which struggled to satisfactorily resolve multiple character arcs.[108][81][110] Others, includingJonathan Rosenbaum, believed the film lacked suspense and clever writing, overwhelmed by characters and near-constant banter.[12][113][114] Maslin observed that Burton prioritized visuals over plot.[109]Gene Siskel argued that the sympathetic villains diminished narrative satisfaction, leaving viewers wishing Batman might not prevail.[115]
Critics noted that the film devoted more attention to its villains than to Batman himself.[12][81][116] Gleiberman remarked that the villain sequences often overshadowed Keaton's performance.[7] McCarthy described Batman as a symbolic figure rather than a psychologically complex character, while Ebert viewed being Batman as a curse rather than a heroic fantasy.[12][110][116] Conversely,Peter Travers praised Keaton's "manic depressive hero" as a fully realized character.[117]
Danny DeVito's Penguin received widespread acclaim for his energetic and distinctive portrayal, conveying pathos and complexity despite heavy prosthetics.[7][109][110] Howe highlighted Burton's focus on the character as indicative of directorial sympathy,[108] while Maslin andCaryn James praised DeVito's charm, making the Penguin compelling and memorable.[109][116] McCarthy and Travers described him as fascinating and humorously warped.[110][117] Some critics, however, felt he did not evoke the same fear or energy as Nicholson's Joker.[12][81][113]
Michelle Pfeiffer's Catwoman was widely praised as passionate, intelligent, and fiercely independent, providing energy and levity amid the film's dark tone.[81][109][112] Rosenbaum felt she did not match Nicholson's villainy,[113] though Turan called the Batman–Catwoman scenes the most interesting. Travers noted that when the characters remove their masks, they appear "lost and touchingly human," and Ty Burr described the ballroom scene as more emotionally resonant than anything inBatman.[117][111] Ebert observed that their sexual tension seemed muted for a younger audience.[12][81]
Christopher Walken's Max Shreck was widely praised for his charm, wit, and commanding presence, with critics suggesting he nearly carried the film on his own.[109][110][117]
Bo Welch's production design received acclaim for creating a sleeker, brighter, and more authoritarian Gotham than Furst's "brooding" style.[81][112][118] McCarthy lauded Welch's realization of Burton's vision, though Siskel dismissed it as "toy shop window decorating" compared to Furst.[110][115] Costume and makeup design were praised, with Maslin noting their lingering visual impact.[108][109][119] Stefan Czapsky's cinematography was well received, lending a "lively" quality to the subterranean sets.[109]
At the46th British Academy Film Awards,Batman Returns was nominated forBest Makeup (Ve Neill and Stan Winston) andBest Special Visual Effects (Michael Fink, Craig Barron, John Bruno, and Dennis Skotak).[120] For the65th Academy Awards,Batman Returns received two nomations:Best Makeup (Neill, Ronnie Specter, and Winston) andBest Visual Effects (Fink, Barron, Bruno, and Skotak).[121] Neill and Winston received theBest Make-up award at the19th Saturn Awards. The film received four other Saturn Award nominations forBest Fantasy Film,Best Supporting Actor (DeVito),Best Director (Burton), andBest Costume Design (Bob Ringwood, Mary Vogt, andVin Burnham).[122] DeVito was nominated for Worst Supporting Actor at the13th Golden Raspberry Awards, and Pfeiffer for Most Desirable Female at the1993 MTV Movie Awards.[123][124]Batman Returns was nominated for aHugo Award for Best Dramatic Presentation.[125]
The U.S. and Canadian box office underperformed in 1992, with admissions down by up to five percent and about 290 million tickets sold (compared to over 300 million in each of the preceding four years). Industry professionals attributed the decline to a combination of uninspired films, rising ticket prices, competition from the Olympics, and aneconomic recession. Even financially successful films experienced steep week-to-week drops, particularly among younger audiences, who were vital to box office success.[126]
Despite these challenges,Batman Returns andLethal Weapon 3 gave Warner Bros. the most profitable first half-year in its history, with the studio expectingreturns over $200 million.[98] However,Batman Returns fell $114.8 million short ofBatman's $411.6 million gross, and was considered a disappointment as a sequel to the fifth-highest-grossing film of its time.[42][127][128] By July 1992, anonymous Warner Bros. executives reportedly said about the film, "It's too dark. It's not a lot of fun."[5]
Although it carried aPG-13 rating—warning that it may contain content unsuitable for children—Warner Bros. received thousands of complaint letters from parents who objected to the film's violent and sexualized content.[8][42][126] Waters recalled one screening where "It's like kids crying, people acting like they've been punched in the stomach and like they've been mugged."[5] He anticipated some backlash but admitted that certain elements may have gone too far.[129] Burton later said that he preferredBatman Returns toBatman and did not view it as darker.[130] Sam Hamm defended Burton and Waters, stating that, aside from merchandising, the film had never been intended as child-friendly.[129]
McDonald's was also criticized for its child-centered promotion and toy tie-ins.[n] The company subsequently changed its practices, requiring extended previews of films before agreeing to promotional partnerships.[132] Warner Bros.' hopes that the film might mirrorBatman's lucrative merchandising campaign were similarly undercut, as demand for licensed products proved far weaker than in 1989. AJCPenney representative reported that only about one-third of stock had sold, with the remainder discounted, while another store described sales as barely a tenth ofBatman's.[132]
In light of the backlash and merchandising decline, Warner Bros. chose to continue the series without Burton, whom they considered "too dark and odd for them", and hiredJoel Schumacher to direct the next installment.[42] A rival studio executive remarked, "If you bring back Burton and Keaton, you're stuck with their vision. You can't expectHoney, I Shrunk the Batman", referencing the family-friendlyHoney, I Shrunk the Kids (1989).[131] Around the same time, executive producersBenjamin Melniker andMichael Uslan sued Warner Bros., alleging that the studio had denied them their share of profits fromBatman andBatman Returns throughHollywood accounting practices—artificially inflating a film's production costs to make it appear unprofitable and limit payouts. A court ruled in Warner Bros.' favor, citing insufficient evidence.[133][134]
Batman Returns was released onVHS andLaserDisc on October 21, 1992.[22][135][136] The VHS carried a lower-than-average price to encourage sales and rentals. Although the film was expected to sell millions of copies and perform strongly as a rental, commentators suggested its darker tone would limit appeal among children, the demographic most responsible for driving home-video sales.[135] Danny Elfman's score was issued oncompact disc in 1992, with an expanded edition released in 2010.[85]
The film was first released onDVD in 1997, without additional features.[137][138] In October 2005, Warner Bros. issued an anthology DVDbox set containing all four films in the Burton–Schumacher Batman series. TheBatman Returns disc included a commentary by Burton, the making-of featuretteThe Bat, The Cat, and The Penguin, the fourth part of the documentaryShadows of the Bat: The Cinematic Saga of the Dark Knight, featurettes on costumes, make-up, and special effects, and the music video forFace to Face.[139]
The anthology set was reissued onBlu-ray in 2009, alongside a standalone Blu-ray edition ofBatman Returns.[137][140] A4K Ultra HD Blu-ray edition, restored from the original 35mm negative, was released in 2019 with previously available special features.[141][142] A 4K collector's edition followed in 2022, packaged in aSteelBook case with original cover art, character cards, a double-sided poster, and the earlier supplements.[143]
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About 120 products were marketed withBatman Returns, including action figures and toys byKenner Products, Catwoman-themed clothing, toothbrushes, roller skates, T-shirts, underwear, sunglasses, towels, beanbags, mugs, weightlifting gloves, throw pillows, cookie cutters, commemorative coins, playing cards, costume jewelry, cereal, a radio-controlled Batmobile, and even tortilla chips shaped like the Batman logo.[22][89][90] Although a similar number of products had been marketed forBatman (1989), Warner Bros. used fewer licensees this time to allow greater oversight. To combat counterfeiting, holographic labels developed by American Bank Note Holographics were attached to licensed merchandise.[89][90] The concurrent release ofBatman: The Animated Series later in 1992 was expected to extend merchandising success beyond the film's theatrical run.[89]
Other tie-ins included a novelization byCraig Shaw Gardner, published in July 1992,[144][145] and the roller coasterBatman: The Ride atSix Flags Great America, built at a cost of $8 million and later replicated at additional Six Flags parks alongside a Batman stunt show.[22][89] Several video-game adaptations titledBatman Returns were released across nearly all available platforms;[146][147][148] theSuper Nintendo Entertainment System version was the most successful.[149]
The film's legacy continued in later media. To celebrate the Penguin's 80th anniversary, DeVito wrote the 2021 comic story "Bird Cat Love", in which Penguin and Catwoman fall in love and end theCOVID-19 pandemic.[150][151] In 2022, DC Comics launchedBatman '89, a series written by Sam Hamm with art by Joe Quinones, which continues the Burton continuity, following up onBatman Returns by depicting Harvey Dent's transformation into Two-Face and introducing Robin.[152] The Red Triangle Gang made their first appearance outside the film inRobin #15 (2022).[153][154] That same year, a holiday tie-in book was released,Batman Returns: One Dark Christmas Eve: The Illustrated Holiday Classic, by Ivan Cohen.[155] In 2023,LEGO released a near 4,000-pieceBatcave set inspired byBatman Returns.[156]
Critic David Crow identifies duality as a central motif inBatman Returns, noting that Catwoman, Penguin, and Shreck each reflect warped aspects of Batman.[157][25][114] English and American studies professor Carol Siegel contends that the film is a neo-gothic fairy tale exploring bodily transformation and fragmented identity, often through the lens of rage against oppressive social structures.[158]
Siegel argues that the film is unique within the Batman mythos because it is "more concerned with Bruce Wayne than his alter ego", resulting in an "almost complete abandonment of the action-adventure aspect of the comic tradition".[159] The divided selves of Bruce and Selina are central to the narrative, and themes of fractured identity are especially evident in Catwoman's transformation.[159][160] According to author Simon Born, the dual identities constrain both characters, and their fleeting recognition at the masquerade ball is undermined by what he terms their "advanced schizophrenia".[161] Like Bruce, Selina is driven by trauma and inner conflict; unlike Batman, who seeks justice, she seeks vengeance.[6][112] Although Catwoman acknowledges Batman's assertion that they are "the same, split right down the center", their differences prevent reconciliation.[25]
Critics Darren Mooney and Betsy Sharkey argue that Penguin mirrors Batman's origin, as both lost their parents at an early age. Shreck even notes that, if not for his abandonment, Oswald Cobblepot and Bruce Wayne might have shared social circles. While Batman accepts his solitude, the Penguin craves acceptance, love, and respect, despite his destructive impulses.[5][35] Mooney suggests Batman's conflicts with Penguin are personal rather than moral: Batman, quietly proud of being a "freak", resents the Penguin for mirroring his own abnormality.[5] Shreck, meanwhile, embodies Bruce's public persona taken to extremes—an industrialist whose greed and populism are masked by cheap gestures toward the public.[25]
Born describesBatman Returns as a highly stylized neo-gothic work in which identity, social critique, and psychological trauma are externalized through an opulent design.[157] He refers to Gotham as an "insurrection of signs", where established symbols are inverted and notions of good and evil destabilized.[162] Born further argues that Batman has lost his personal identity to his alter ego: "Bruce Wayne is the mask of Batman". Batman uses this monstrous persona to shield himself from the world. Born notes that the hero's violence is depicted with a "casualness and malice" that is intended to unsettle the audience.[160] This portrayal implies that Batman is not far removed from the "relentless methods" of the fascistic powers he once opposed in earlier comics.[163]
Writer Catherine Mettler describesBatman Returns as a cinematic application ofMikhail Bakhtin's theory of thecarnivalesque, which posits that carnival can invert existing power hierarchies and enable popular renewal. Burton's work is characterized by elements that are "exuberantly colorful, gay, hallucinogenic, childlike, and chaotic", which he applies to films such asPee-wee's Big Adventure (1985) andCharlie and the Chocolate Factory (2005).[164]
The Penguin is a key embodiment of the carnivalesque, particularly through the concept of the grotesque body.[165] Mettler highlights his deformed physicality and excessive appetites as representations of the "unbounded" and "materially linked" body of the common people.[165] His sewer lair is described as a circus, further emphasizing the visual chaos of his character.[166] Living among the city's waste, the Penguin's existence underscores the stark divide between the elite and the masses he represents.[167] As the "least obvious carnivalesque character," Catwoman embodies the theme on a personal level.[168] Her transformation aligns with Bakhtin's notion of a carnival spirit that liberates a person from "conventions and established truths" and offers entry into "a completely new order of things."[168]
Selina, a victim of a "sexist macho society", is pushed out a window by her boss.[169] Born argues that Selina empowers herself by adapting the 'symbol of her oppression—the cat—' and reframing it as a 'furious panther' in opposition to the chauvinistic business world.[160] Her rebellion reflects post-feminist theories linking sexuality, power, and identity.[160] However, Born argues that her struggle against masculine authority ultimately fails, as her autonomy is continually challenged by male characters, reflecting Hollywood's patriarchal system.[160]
Batman Returns is noted for its exploration of sexuality, particularly the relationship between Batman and Catwoman, with critics often citing itsS&M undertones and the use of leather fetish suits.[170] The film has been described as an "S&M art film" marketed as a children's summer blockbuster.[171] Siegel argues that the film's exploration of fetishism, perversity, and eroticism is central to its neo-gothic themes.[158]
A central theme in Burton's work, includingBatman Returns, is the "shared exhilaration and anxiety concerning bodily transformation".[172] This is most evident in Catwoman, whose transformation is marked by prominent stitches on her homemade patent-leather suit.[173] These stitches are both literal and symbolic, testifying to her reanimation after her death and revival by alley cats.[172] Siegel posits that the act of sewing her own suit functions as an ironic mimicry of the oppressive feminine social roles that had previously terrorized her.[174]
Siegel suggests that their consensual S&M-coded relationship is mitigated by their heroic actions, which allow them to channel "both their rage and their perverse desires into their ongoing fight against destructive evil".[175] She contends this portrayal suggests that S&M can be regarded as "nearly wholesome so long as it is manifested with control and proper purpose."[175] Other critics interpret Batman and Catwoman's attraction less as sexual perversity and more as a "romance between two schizophrenics," rooted in shared anger and emotional wounds.[175]
Critic Tom Breihan described Catwoman's vinyl catsuit as "pureBDSM", complete with the whip she wields as a weapon.[25][176] In the climax, she rejects Batman's offer of a happy ending and abandoning her revenge against Shreck; accepting Batman's will would mean allowing another man to control her.[25] Selina's arc from timid secretary to dominant Catwoman represents liberation from social conventions and established truths.[168] For Siegel, her stitched-together "Frankensteinean" catsuit is an artistic embodiment of her rage against patriarchal and repressive roles that once defined her.[177] Her story is one of personal empowerment against male hegemony, culminating in her showdown with Shreck.[178] Catwoman's overt embrace of sexuality contrasts with Batman's repression, presenting sexuality as dangerous, destabilizing, and incompatible with their vigilante roles.[179] Her sexuality functions both as empowerment and as a threat to patriarchal structures embodied by Shreck, Batman, and Penguin.[179]
Alongside Catwoman's sexualized persona, Batman Returns continues a tradition in Batman media in which the hero's power stems from sublimating sexuality into violence.[179] Criminal justice scholarGraeme Newman said that, historically, Batman has been portrayed as asexual, reinforcing his obsessive focus on crime-fighting and echoing a moral stance that renounces "the medieval evil itself: sex."[180] His "tremendous force" of sexuality is redirected into "unrestrained lust: violence", presenting a distinctly male response to desire.[181]
InBatman, his sexual encounter with Vicki Vale leaves him restless and disturbed, suggesting intimacy conflicts with his crime-fighting obsession.[182] The avoidance of homosexual themes—such as omitting Robin from the film or killing him in comics—was partly driven by fears that such portrayals would "contradict and divert attention away from the single-minded pursuit of justice".[182] The dynamic between Batman and Catwoman underscores this tension; both recognize that if they were to be together, they would no longer need to pursue their respective justice obsessions.[181] Mettler notes that while Catwoman achieves independence from social constraints and male control, she never achieves sexual liberation, observing that despite their attraction, she and Batman never consummate their relationship.[183] Film analyst Arthur Taussig argues that Catwoman's final decision in Batman Returns to reject the heroic Batman and choose "total freedom, total independence from all men" is a "revolutionary statement" and a "political breakthrough for popular cinema," as it subverts the traditional Hollywood formula of female characters finding fulfillment only through a male partner.
These tensions between sexuality and repression feed directly into the film's broader exploration of power and ideology, most clearly embodied in the Penguin's mayoral campaign, which Shreck masterminds.[111][112]
Selina gains agency by donning the Catwoman costume and embracing her anger and sexuality.[111][112] By contrast, according to Newman, Batman sublimates sexuality into violence, aligning him with a conservative ideology: order requires the denial of personal desire, and strength must be expressed through "good violence" in service of justice.[184]
The film's political themes are interwoven with the machinations of Shreck, a figure who wields wealth to secure influence, declaring, "There's no such thing as too much power; if my life has a meaning that's the meaning."[25] Born argues that Shreck is arguably the film's only purely evil character; he is more frightening than the "freaks and monsters" because he operates "behind a façade of normalcy" while manipulating, corrupting, and killing others. Born contends that Burton's work suggests the true source of fear is not "the Other" (the outsider) but the "ordinary".[185] He further explains that Burton portrays the film's "freaks and monsters" as victimized individuals: the Penguin, abandoned by wealthy parents, lashes out at the consumer society that rejected him; Catwoman emerges from a chauvinistic world; and even Batman is a "traumatized individual."[186] Born concludes that the film ultimately destabilizes the binaries of good and evil, framing them as subjective narrative constructs.[187]
Shreck convinces Penguin to run for mayor to advance his own interests, while Penguin seeks the legitimacy and respect that recognition would bring, echoing Catwoman's struggle.[116][188] Critic Caryn James observed thatBatman Returns delivers "sharp political jabs", suggesting that money and image matter more than substance.[116] Whereas the Joker inBatman won support by throwing money into the crowd, Shreck and Penguin rely on spectacle, pandering, and corporate showmanship. Penguin notes that both he and Shreck are monsters, but only Shreck is "well-respected". James remarked that Penguin does not seek to become lovable, only accepted.[9][25][116] When voters turn on him, he retaliates with a plan to kill infants, symbols of the opportunities he never had. Critic John Crow argued that Burton shows greatest sympathy for Penguin, devoting more screen time to his development.[25]
The narrative aligns with Newman's interpretation of the film as delivering a "deeply conservative message".[184] The ineffectual liberal mayor is outmaneuvered by Shreck, the "evil capitalist", while Gotham's "fickle masses" nearly elect Penguin.[184] In this reading, "the moral weakness of liberalism is eclipsed by the moral strength of evil", leaving Batman's "good violence" as the only force capable of restoring order.[184] The interplay of sexuality and politics completes this logic: Catwoman's sexuality threatens male control, Batman's repression channels desire into violence, and Gotham's citizens, manipulated by spectacle, require a morally certain, if brutal, hero to save them from themselves.[189]
These artistic and political strands are closely tied to Burton's personal rebellious impulses. He admitted a desire to vent anger "on such a grand scale," claiming he was "pretty much against society from the beginning."[190] This resistance to class hierarchy and patriarchy recurs throughout his work.[190]
Crow and Mooney saw Batman Returns as a critique of Batman's real-world cultural popularity and merchandising, particularly following the success of the previous film. Notably, a scene of a store filled with Batman merchandise being destroyed was removed from the final cut.[25] The film is "saturated with Christmas energy," but rejects conventional holiday norms to function as an anti-Christmas film that critiques commercialism and the absence of true goodwill. Shreck cynically exploits Christmas tropes, falsely portraying himself as selfless and benevolent, while the perversions of Penguin's Red Triangle gang represent a more overt rejection of the holiday.[5][25]
Christmas serves as a central motif but is portrayed as a symbol of "commercial mass deception" and the "tyranny of department stores".[162] Both Penguin and Catwoman use the festive season to challenge Gotham's established power structures with carnivalesque traits.[191] Gotham City is dominated by Shreck.[192] Shreck embodies ruthless capitalism concealed behind the "friendly face of a cartoon animal", a subtle critique by Burton of his own experiences with corporate entities likeThe Walt Disney Company.[192]Batman Returns has been described as a neo-gothic fairy tale that is "more Burton than Batman".[193] Its content was deemed unsuitable for young children, prompting backlash from parents and critics.[132] An editorial inThe New York Times warned that the film was "violent, sexually suggestive", featuring scenes where "kids are abandoned, kidnapped, and threatened with death".[132]
The film includes racy dialogue, such as "just the pussy I've been looking for" and "I'd like to fill her void", which angered many parents. This controversy extended to merchandising, with McDonald's receiving numerous complaints about licensed toys and promotional items tied to the film. The resulting outcry over the film's tone and violence highlighted a clash between its dark themes and its marketing to a younger audience.[132]
The film emphasizes loneliness and isolation during Christmastime: Bruce is first shown sitting alone in his vast mansion, inert until the Bat-Signal shines in the sky. While he forms a connection with Kyle, their differences remain insurmountable, and he ends the film as he began it; alone.[5] Critic Todd McCarthy noted that isolation is a recurring theme in much of Burton's work, emphasized in the film's three main characters.[110]
Some contemporary critics argue that while the film is not explicitly antisemitic, it utilizes visual and thematic elements associated with historical Jewish stereotypes.[194] They suggest the Penguin embodies traits such as a "hooked nose, pale face and lust for herring" and is "unathletic and seemingly unthreatening but who, in fact, wants to murder every firstborn child of the gentile community."[194] The character teams with Shreck (a name the critics describe as 'Jewish-sounding') to disrupt Christmas and Christian traditions.[194] According toLAist, the Penguin's exaggerated caricature, assault on holiday customs, and overt biblical symbolism create a "perfect storm" of imagery evoking antisemitic tropes.[195] These critics contend that Burton, in drawing inspiration from the German Expressionist aesthetic, unintentionally referenced a problematic lineage, as some art critics view theNosferatu characterCount Orlok (portrayed by actor Max Shreck) as an example of a bizarre and monstrous characterization of Jews as the predatory, parasitic "other".[194][195][192]
Conversely, Melvin Salberg and Abraham H. Foxman of theAnti-Defamation League argued that reading the film as antisemitic is a misinterpretation that overlooks the filmmakers' intent and distracts from real-world antisemitism.[196] Furthermore, Taussig noted the biblical resonance of the Penguin's infancy, with a baby carriage floating in a river recalling the story ofMoses.[197] Visual effects supervisor Robert Skotak explained that the sequence was conceived as a visual descent into the underworld, portraying a sinister baptism, symbolically paralleling the biblical narrative.[198]
Despite a mixed initial reception from critics and audiences,Batman Returns has undergone a critical reappraisal in the years since its release and is now considered a classic of the superhero genre. Several publications, such asVariety andThe Hollywood Reporter, now rank it among the best Batman and superhero films, with some calling it "the greatest Batman movie ever made".[o] The film is seen as "underrated" and a "series peaking early," with subsequent films failing to live up to its vision.[9][201]
Burton's artistic choices, which were criticized at the time, are now seen as prescient and ahead of their time.[9] The "darker" and more "bleak" aspects of the film have been re-evaluated in the wake of later, more serious superhero films. Burton noted the irony of the film being deemed 'too dark,' given that later films—includingThe Dark Knight trilogy (2005–2012) andThe Batman (2022)—went even darker.[p] Burton said that whileBatman Returns was seen by some as bleak, for him it was a mixture of gothic, playful, kinky, and experimental tones.[202]The Hollywood Reporter notes that the film was "truer to Tim Burton's dark vision than its predecessor".[205][203] According toThe Ringer, the very "fatalistic and noir elements" that Roger Ebert criticized in 1992 are now "the going currency of event movies".[9] Critic Brian Tallerico said that the elements which originally upset critics and audiences are what makes it still "revelatory... It's one of the best and strangest movies of its kind ever made".[141]
Writer Daniel Waters recalled being told thatBatman Returns was a "great movie for people who don't like Batman".[34][206] While the film received criticism for its depiction of Batman killing, Waters defended the choice, arguing that in a film likeThe Dark Knight (2008), it was not practical for Batman to let [theJoker] live, knowing he could escape and cause more harm.[8][25] He believed that the reception toBatman Returns was improving with time, especially after the release ofThe Batman.[34]
Review aggregator Rotten Tomatoes has an 82% approval rating from reviews by 93 critics, with an average score of 6.9/10. According to the website's critical consensus, "Director Tim Burton's dark, brooding atmosphere, Michael Keaton's work as the tormented hero, and the flawless casting of Danny DeVito as The Penguin and Christopher Walken as, well, Christopher Walken make the sequel better than the first."[207] The film has a score of 68 out of 100 on Metacritic (based on 23 critics), indicating "generally favorable" reviews.[208]
The film is widely regarded as an exemplar of the superhero genre's potential for artistic expression.Variety credits the film with helping to legitimize the genre by pairing Keaton's Batman with Burton's distinct and vivid world-building.[199] The BurtonBatman films are also credited with establishing the darker, more serious tone that would later define the modern superhero genre of the early 21st century.[94] Publications likeEmpire andPolygon describe the film as a deeply personal and "unmistakably Burton" work, infused with the same gothic and satirical sensibilities as his earlier films likeBeetlejuice andEdward Scissorhands.[202][77] This approach made the film a "bold, auteur-driven detour" in Batman's cinematic history, contrasting sharply with the camp of the 1960s and the later, more grounded style ofThe Dark Knight trilogy.[202] Author Jeff Bond calledBatman Returns the "first auteur superhero movie" because it allowed Burton to make a film that was his "weird experiment" rather than a strict adaptation.[95][202] This willingness to ignore traditional comic book elements and sequel hooks in favor of his unique vision helped pave the way for other creative directors, such asChristopher Nolan,Peter Jackson, andSam Raimi, to helm major franchises.[77][9] Director ofThe BatmanMatt Reeves and that film's starRobert Pattinson both calledBatman Returns their favoriteBatman film.[209][210] Additionally, directorRobert Eggers said that it visually inspired his filmNosferatu (2024).[211]
Pfeiffer's portrayal of Catwoman is widely regarded as a definitive big-screen interpretation of the character, praised not only for her iconic costume but for a performance that brought a unique blend of sexuality, danger, outrageousness, and pathos to the role.[q] Burton called it one of his favorite performances he has ever worked on.[212] While initially hailed as the film's "bright spot" amid a mixed critical reception, the performance is now considered one of the greatest in the superhero genre, credited with taking a comic book character and turning her into a complex, contradictory figure that served as a commentary on the portrayal of women in genre fiction.[r] The role is seen as a "career-making" one that helped audiences forget previous portrayals and cemented Pfeiffer's as the "definitive big-screen Catwoman."[199][8][205]Variety argued that Pfeiffer deserved an Academy Award nomination for her performance, and set a benchmark for future portrayals.[s]
The film is also noted for its role in contributing to the modern blockbuster and franchise model. Burton recalled that by the time ofBatman Returns, "the language of 'franchise' and corporate synergy had begun dominating Hollywood studio priorities", a concept that was still relatively new during the production of the 1989 film.[8]The Hollywood Reporter notes that whileBatman "jump-started the superhero movie genre",Batman Returns, with its bold characters and promotional tie-ins, was a key step in this evolution that "helped make franchise films the norm", even if it was a difficult one.[8] The film's tone and clash with corporate partners like McDonald's, which objected to darker content, prompted Warner Bros. to pivot to the more lighthearted and "campy" style of the Joel Schumacher films.[9][8] While this was an attempt to create films with more broad, family-friendly appeal,The Ringer wrote that the Schumacher films are now seen as "borderline unwatchable", whileBatman Returns is seen as a superior and more enduring cinematic work.[9][224] In January 2017, one of the iconic Batsuits worn by Keaton in the film sold at auction for $41,250.[225]
Although a summer blockbuster upon its release, Batman Returns has become a holiday film staple due to its winter setting and Christmas iconography. Several publications have listed it among the best alternative Christmas films, noting its themes of loneliness and isolation.[t] It is also identified as the centerpiece of Burton's unofficial Christmas trilogy, bookended byEdward Scissorhands andThe Nightmare Before Christmas.[5][9]
Following the reception ofBatman Returns, Warner Bros. sought to continue the series without Burton.[8][42][129] Although Burton considered making a third film, the studio encouraged him to pursue other projects and he realized they did not want him to return. He was replaced with Joel Schumacher, who was seen as better suited to delivering a more family- and merchandise-friendly sequel.[8][42][129] Keaton initially supported the change but left the role, later saying the film "just wasn't any good, man."[42][131][229] Industry reports suggested he also sought a $15 million salary and profit share, though his producing partnerHarry Colomby denied money was the issue.[129]
Schumacher'sBatman Forever (1995) was financially successful but less well received critically thanBatman Returns.[230] Its sequel,Batman & Robin (1997), was a critical and commercial disappointment, often cited as one of the worstblockbuster films ever made,[230][231] and led to the franchise being placed on hiatus until the rebootBatman Begins (2005).[129][231][131]
By the mid-1990s, Burton and Waters were attached to a planned Catwoman film starring Pfeiffer.[232][233] Burton and Waters held competing visions for the project: Burton wanted to make an intimate black-and-white drama in homage toCat People (1942), while Waters's script followed Catwoman, suffering from amnesia after the events ofBatman Returns, in theLas Vegas-like Oasisburg, where she confronted corrupt male superheroes.[234][235] The project stalled as Burton and Pfeiffer moved on to other work, and Warner Bros. eventually producedCatwoman (2004), starringHalle Berry, which was widely panned.[234][236]
Keaton later reprised his Batman inThe Flash (2023),[231][237] and had also filmed scenes for the cancelledBatgirl (2022).[238][239]
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