There are a lot of Batmen who have graced the big and small screens over the past half-century. Everyone seems to have an opinion about who was best, which directors got it right or wrong, and which actors should have stayed away from the role entirely. And traditionally, whenever a new Batman actor is announced, the public screams its disdain for the terrible choice and, usually, they're proven to some extent wrong. People who criticized Michael Keaton and Ben Affleck sight unseen, for instance, were shown solid casting choices who performed above expectations. (George Clooney, on the other hand, was simply awful. That's indisputable.)

So it was no surprise that the internet convulsed with rage when Robert Pattinson, best known as the sparkly, angst-ridden vampire from Twilight, was tapped as the next man to don the cape and cowl. I wasn't thrilled with it either but was willing to see what an older, more mature Pattinson could do with the role.

He's pretty amazing.

The Batman is clearly different from previous incarnations of the comic-book hero. Some have been more cartoony than others, but this movie makes even the grittiest of Christian Bale's scenes look campy when compared to Pattinson's dark, brooding Bat.

Writer/director Matt Reeves has given us something new.

Set in the second year of Batman's mission, the movie presents a more realistic vigilante who, despite his bat-themed theatrics, has no powers and uses minimal gadgets. Unlike some of the better DC movies in recent years, The Batman takes no cues from Marvel's string of successes. It's humorless and visually drab. Those choices work.

While I worried about the 3-hour runtime, the movie passes quickly. Not because it's an action-packed juggernaut but because it builds tension in a slow burn, expending its energy at measured intervals. Some people might find the pace slow for a superhero film, but this is an example of excellent world building.

Don't assume that means there isn't plenty of action, too, because there is. The fights are well choreographed, often brutal, to ensure that no one forgets Batman is a highly skilled fighter as well as a world-class detective.

Pattinson does a very good Batman but is weaker as Bruce Wayne. He is at all times glowering and angry, but the heroism of his final scene -- when saving the day has nothing to do with either fighting or detective work -- seems likely to elevate him to the point where the Bruce side of his personality may peek through. We'll have to wait for the sequel to see how that works out.

Of course, the Batman is only as good as his villains. Here, there are several.

The Riddler (Paul Dano), who in the past has been portrayed as a manic goofball, now displays true menace, providing mysteries worthy of Batman's detective skills while committing horrific crimes. Unlike Jim Carrey's Riddler, who was garish and over the top, Dano's is a serial killer who could exist in our world. Dano's performance more than anything tips the balance of this movie from comic-book superheroics to psychological thriller, perhaps even horror.

John Turturro is affable yet intimidating as the mob boss Carmine Falcone, charismatically pulling strings from behind the scenes. The Penguin, meanwhile, is a brilliantly realized character, but I can't help but wonder how necessary Colin Farrell is to the role. Certainly a talented actor, he is so buried in prosthetics and makeup that he's entirely unrecognizable. Still, he does a good job and sets a stage for a bigger role next time.

Previous Batman movies have given us Catwomen with very different personas. Zoe Kravitz gives us one that is less cartoony and flamboyant than Michelle Pfeiffer, more focused and emotionally driven than Anne Hathaway. She's a good foil for Batman's broodiness, and I hope her character returns.

Lt. Jim Gordon (Jeffrey Wright) is a good cop in a corrupt department. Gordon and the Batman have history; it is obvious that in the two years preceding this film, they have developed a rapport and professional trust. I also like that Andy Serkis's Alfred is not there simply to care for Bruce Wayne, but provides some much needed support and a second set of eyes.

This Gotham looks like a real city, albeit one where it nearly always rains. The score builds tension admirably -- at times echoing "The Imperial March" from Star Wars -- and the director makes excellent use of black spaces in his shots. Scenes such as the car chase and a hallway fight lit only by gunfire -- simply brilliant.

But it's the story that matters most, and this plot is an excellent change of pace. Batman seems to be in good hands, on both sides of the camera. There's no telling where this new series will go, or if it can maintain the strength of this fresh beginning, but right now I'm feeling pretty hopeful for the future of the franchise.