Editing Batman Returns (section)

===Critical response===
[[File:Michelle Pfeiffer 01.jpg|thumb|left|upright=0.75|alt=Black-and-white photo of a smiling Michelle Pfeiffer|[[Michelle Pfeiffer]] in 1985. Although critics were polarized by many aspects of ''Batman Returns'', Pfeiffer's performance received near-unanimous praise.]]
''Batman Returns'' had a polarized reception from professional critics.<ref name="Escapist2020"/><ref name="AFICatalog"/><ref name="TCM"/> Audiences polled by [[CinemaScore]] gave the film an average grade of B on an A+-to-F scale.<ref name="CinemaScore"/>

Several reviewers compared ''Batman Returns'' and ''Batman''; some suggested that the sequel had faster pacing and more comedy and depth, avoiding ''Batman''{{'s}} "dourness" and "tedium".{{efn|Attributed to multiple references:<ref name="ReviewWAPOHowe"/><ref name="ReviewNYTMaslin"/><ref name="ReviewVarietyMcCarthy"/><ref name="ReviewEWBurr"/>}} Critics generally agreed that Burton's creative control made ''Batman Returns'' a more personal work than ''Batman'', something "fearlessly" different which could be judged on its own merits.<ref name="ReviewNYTMaslin"/><ref name="ReviewTribuneKehr"/> Critics such as [[Kenneth Turan]], however, said that Burton's innovative, impressive visuals made ''Batman Returns'' feel cheerless, claustrophobic and unexciting, and were often emphasized at the expense of the plot.<ref name="ReviewEW"/><ref name="ReviewLATimesTuran"/><ref name="ReviewEWBurr"/> According to [[Owen Gleiberman]], Burton's fantastic elements were undermined because he did not establish a base of normality.<ref name="ReviewEW"/>

The plot had a mixed response. Some reviewers praised the first and second acts and interesting characters who could evoke audience emotion.{{efn|Attributed to multiple references:<ref name="ReviewEW"/><ref name="ReviewLATimesTuran"/><ref name="ReviewWAPOHowe"/><ref name="ReviewVarietyMcCarthy"/>}} Others said that it lacked suspense, thrills, or clever writing, overwhelmed by too many characters and near-constant banter.{{efn|Attributed to multiple references:<ref name="ReviewEW"/><ref name="ReviewEbert"/><ref name="ReviewReaderRosenbaum"/><ref name="ReviewWaPoKempley"/>}} The ending was criticized for lackluster action and failing to bring the separate character threads to a satisfactory conclusion.<ref name="ReviewWAPOHowe"/><ref name="ReviewNYTMaslin"/> According to [[Janet Maslin]], Burton cared mainly about visuals and plot was a secondary consideration.<ref name="ReviewNYTMaslin"/> [[Gene Siskel]] said that the emphasis on characterization was detrimental; the sympathetic villains left him hoping that Batman would not win, and each character would find emotional peace.<ref name="ReviewSiskel"/>

Reviewers generally agreed that despite Keaton's abilities, his character was ignored by the script in favor of the villains; scenes without him were among the best.{{efn|Attributed to multiple references:<ref name="ReviewEW"/><ref name="ReviewEbert"/><ref name="ReviewLATimesTuran"/><ref name="ReviewNYTMaslin"/><ref name="NYTimesCarynJames"/><ref name="VarietyNosferatu"/>}} [[Todd McCarthy]] described Batman as a symbol of good rather than a psychologically complete character, and Ebert wrote that ''Batman Returns'' depicts being Batman as a curse instead of a heroic power fantasy.<ref name="ReviewEbert"/><ref name="ReviewVarietyMcCarthy"/><ref name="NYTimesCarynJames"/> [[Peter Travers]], however, said that Keaton's "manic depressive hero" was a deep, realized character in spite of the film's faster pace.<ref name="ReviewRSTravers"/> DeVito was praised for his energy, unique characterization, and ability to convey his character's tragedy despite the costumes and prosthetics. [[Desson Howe]] said that Burton's focus on the Penguin indicated his sympathy for the character.{{efn|Attributed to multiple references:<ref name="ReviewEW"/><ref name="ReviewWAPOHowe"/><ref name="ReviewNYTMaslin"/><ref name="ReviewVarietyMcCarthy"/><ref name="ReviewWaPoKempley"/><ref name="NYTimesCarynJames"/><ref name="ReviewRSTravers"/>}} Some reviewers considered DeVito an inferior followup to Nicholson's Joker, who evoked sympathy without instilling fear.{{efn|Attributed to multiple references:<ref name="ReviewEW"/><ref name="ReviewEbert"/><ref name="ReviewLATimesTuran"/><ref name="ReviewReaderRosenbaum"/>}}

Pfeiffer received near-unanimous praise for the film's standout performance as a passionate, sexy, ambitious, intelligent, intimidating, and fierce embodiment of feminism who offered the only respite from the otherwise-dark tone.{{efn|Attributed to multiple references:<ref name="ReviewEW"/><ref name="ReviewLATimesTuran"/><ref name="ReviewNYTMaslin"/><ref name="ReviewTribuneKehr"/><ref name="NYTimesCarynJames"/><ref name="ReviewVarietyMcCarthy"/><ref name="ReviewRSTravers"/>}} [[Jonathan Rosenbaum]], however, said that she did not live up to Nicholson's villain.<ref name="ReviewReaderRosenbaum"/> Turan called the scenes shared by Batman and Catwoman the film's most interesting, and Travers said that when they take off their masks at the end they look "lost and touchingly human". Burr described the ballroom scene (in which they realize each other's secret identities) as more emotional than anything in ''Batman''.<ref name="ReviewEWBurr"/> Ebert noted that their sexual tension seemed to have been undercut for a younger audience.<ref name="ReviewEbert"/><ref name="ReviewLATimesTuran"/><ref name="ReviewRSTravers"/> Walken's performance was described as "wonderfully debonair", funny and engaging, a villain who could have carried ''Batman Returns'' alone.{{efn|Attributed to multiple references:<ref name="ReviewWAPOHowe"/><ref name="ReviewNYTMaslin"/><ref name="ReviewVarietyMcCarthy"/><ref name="ReviewRSTravers"/>}}

Welch's production design was generally praised, offering a sleeker, brighter, more authoritarian visual style than Furst's "brooding", oppressive aesthetic.{{efn|Attributed to multiple references:<ref name="ReviewLATimesTuran"/><ref name="ReviewTribuneKehr"/><ref name="ReviewWaPoKempley"/><ref name="ReviewRSTravers"/><ref name="ReviewEmpire"/>}} McCarthy described Welch's ability to realize Burton's imaginative universe as an achievement, although Gene Siskel described Welch as a "toy shop window decorator" compared to Furst.<ref name="ReviewVarietyMcCarthy"/><ref name="ReviewSiskel"/> The costumes and makeup effects were also praised, with Maslin saying that those images would linger in the imagination long after the narrative was forgotten.<ref name="ReviewWAPOHowe"/><ref name="ReviewNYTMaslin"/> Czapsky's cinematography was well-received, even giving a "lively" aesthetic to the subterranean sets.<ref name="ReviewNYTMaslin"/> The film's violent, mature, sexual content, such as kidnappings and implied child murder, was criticized as inappropriate for younger audiences.{{efn|Attributed to multiple references:<ref name="Escapist2020"/><ref name="TCM"/><ref name="ReviewNYTMaslin"/><ref name="ReviewEWBurr"/><ref name="WAPOCrit"/>}}