An exciting and action movie follows Batman, a powerful defender, who stands against corruption and evilness, as he defends Gotham city, as the corrupted Penguin and an evil businessman, want to put their control over the city, in order to achieve their wicked goals, in such a great movie.
[Burton's] dark, melancholy vision is undeniably something to see, but it is a claustrophobic conception, not an expansive one, oppressive rather than exhilarating, and it strangles almost all the enjoyment out of this movie without half trying.
Batman Returns, though, is full of grim, Dostoyevskian undertones, not to mention a multitude of bloody, violent scenes.
New Yorker
April 10, 2013
As in the first movie, Burton gives the material a luxurious masked-ball quality and a sly contemporary wit without violating the myth's low, cheesy comic-book origins.
Among the 1990s' most fruitful marriages of high-brow auteurist style and pulp source material. A Burtonesque layer cake: at bottom, his take on German Expressionism; then the Gotham grotesquerie; topping it all off is a fissuring, fracturing fairytale.
Batman Returns is the rarest of Hollywood beasts -- a sequel that's better than the original
TIME Magazine
April 10, 2013
Burton, once an animator at Disney, understands that to go deeper, you must fly higher, to liberation from plot into poetry. Here he's done it. This Batman soars.
Director Tim Burton, apparently given a free hand to create a follow-up to the hugely successful 1989 Batman, marshals all his forces to create an elaborately melancholy ode to alienation.
There are flashes of commercially oriented action and humor, but the overall feeling is one of a languid depression sprung straight from the heart of its author.
