As the camera switches from the car interior to the bumper to mid-air vehicle flip, it feels as though the potential of every possible plane is being wrung out of the speakers to exhilarating effect. But, the narrative of the sequence remains thrillingly clear, even with the persistently building music, guttural gunshots and spectacular sub-bass. The Batmobile rips through the middle of the soundfield while passing trucks, falling crates and sheeting rain bombard the viewer. Nowhere is this better demonstrated than in the car chase as Batman is pursuing the Penguin.

In one of two uncannily realistic-sounding nightclub scenes, Zoe Kravitz’s proto-Cat Woman stalks through the Iceberg Lounge and we’re shown her sonic outlook as she passes by clubbers and leering men, while Batman's instructions, given remotely, are heard, voice-of-God style, in her ear.Īt another point, we're even given a bat’s-ear-view as Batman tries to retrieve a note from a captive Chiroptera, and we are placed firmly in its cage as distressed noises spin out above and around us in a deeply unsettling maelstrom.ĭolby Atmos is also frequently used to create breathing room within the dense soundscape, allowing the heavy, liturgical score (often pulled off the screen to the sides), rich tapestry of effects and hushed voices to co-exist without competing. If you have a Dolby Atmos system, it’s also perhaps the most immersive as the outstanding sound design lets viewers dip in and out of the characters’ perspectives, intensifying dramatic suspense and thrilling action while helping to keep them rapt for its three hour run time.īut it’s not just Bruce Wayne’s viewpoint we’re treated to. Seeming to draw its cinematic aesthetic more from 2019’s Joker (by way of ’70s noir) than the Dark Knight’s 12 previous live-action outings, The Batman offers us a grittier, grounded, and more expressionistic Gotham than we’re used to.

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