Tim Burton’s Batman Returns is my second favourite Batman movie thus far. It’s pretty underrated, stylishly cheeky and full of ornate, wonderfully oppressive, melancholic set design and drips with a gothic sensability that only Burton included in his versions, and seems to be missing from the franchise these days. It’s dark, comical and just a little bit campy, always a winning combination. Michael Keaton steps back into the batsuit for a second time, and he’s even more somber and downbeat than in Burton’s original 1989 film. Keaton is so talented, and one only needs to look at his zany work in Beetlejuice and compare it to the heft and restraint he shows as the caped crusader to see this. Here he’s faced with a snowy, blackened and endlessly corrupt Gotham City, this time under siege from three wildly different villains. Danny Devito plays Oswald Cobblepot, a.k.a. The Penguin, in what is probably the most outlandish character in the otherwise grim film. He’s a bad tempered, knobbly little gremlin, encased in sallow makeup and sporting disgusting, pasty little flippers. It’s hard to tell it’s even Devito at all until that little smart ass mouth opens up to hurl calculated obscenities at anyone and everyone. He aims to be mayor, and only in freaky deaky Gotham would a plan like that ever be taken seriously, from a sewer dwelling, animalistic mobster with an army of clowns following him. Christopher Walken plays evil, ghoulish Max Schreck, an amoral monster of a businessman with nefarious plans of his own, and a haircut that would make Andy Warhol run for cover. Last and most memorable is Michelle Pfeiffer as Selina Kyle, Schreck’s awkward, meek secretary who eventually becomes Catwoman. And what a Catwoman she is. Forget Anne Hathaway, Julie Newmar take a number, and we won’t even mention Halle Berry. No one played the pussy quite like Pfeiffer. She’s got a shiny, skin tight outfit with the body to match, a sassy, sexy attitude, a whip smart mouth on her and just a hint of psychosis, making her my favourite film incarnation of the character. “Meow” she purrs sensually as an incendiary bomb detonates behind her. Damn. They all get wrapped up in various schemes and scams. Penguin wants ultimate power, which apparantly involves kidnapping a bunch of infants. Schreck wants ruthless progress to tear Old Gotham up in worship of the almighty dollar, and Catwoman is content to slash and burn everyone’s plans, until she gets a bit of a smolder in her eye for Batman, providing some electric sexual tension between the two of them that’s a highlight of the film. Neither of them are sure whether they want to kiss or kill, fight or fuck the other, and it’s devilishly entertaining watching them hash out their hormones in naughty little action sequences and slow, slinky intimate scenes, involving both Bruce and Selina as well as their feral alter egos. Their chemistry revolves at the center of the piece, with all manner of circus sideshow madness happening around them. Pat Hingle and Michael Gough diligently put in work as Commissioner Gordon and Alfred Pennyworth, with Doug Jones, Michael Murphy, Andrew Bryarniarski and Paul Reubens rounding out the roster. Burton outdid himself with style on this one, his trademark eye for loving detail laboriously employed here to the point where it surpasses the artistry of a comic book and starts to look like some mad dream of Vincent Price. He dipped his toe in the water of the Batman universe with his first outing. Here he plunges headlong into it and fully commits to a style and tone that’s distilled to a satisfactory point that he wasn’t quite at with Batman 1989. A treasure in the franchise, and a wicked fun film at that.