“Batman Forever,” directed by Joel Schumacher, is the kind of movie that could only have come out in the ‘90s: a neon explosion, over-the-top performances, and a plot that feels like it was tossed in a blender and served with no real thought. At the time, it was considered a commercial success, raking in over $300 million worldwide, but looking back now, you gotta wonder: did anyone think this was acceptable?

Let’s start with the basics: Val Kilmer as Batman. Kilmer is an actor with a ton of potential, but in “Batman Forever,” he’s clearly on autopilot. No emotion, no charisma, and, worst of all, no chemistry with any other character in the movie. His relationship with Dr. Chase Meridian, played by Nicole Kidman, which should’ve brought some kind of sexual tension, is pathetic. It feels like they’re just reciting lines without believing a single word. Kidman’s character, by the way, is a total waste of talent—reduced to a “brilliant” psychiatrist whose only purpose is to bite her lip while staring at Bruce Wayne.

If Kilmer disappoints as the Dark Knight, Chris O’Donnell as Robin manages to be even worse. O’Donnell brings a rebellious energy that feels like it came straight out of high school. It’s hard to believe that a teen with an earring to show off his “rebellion” could actually become the partner of a dark vigilante. And that scene where he steals the Batmobile to joyride around the city? Completely unnecessary and just highlights how badly written his character is.

And then there are the villains. Oh, the villains... Tommy Lee Jones as Two-Face and Jim Carrey as the Riddler seem to be in a competition to see who can deliver the most over-the-top, ridiculous, and unbearable performance. Tommy Lee Jones, fresh off his Oscar win for “The Fugitive,” clearly decided to channel Jack Nicholson from “Batman” (1989), but without any of the charm or menace. He just laughs, yells, and throws out catchphrases without ever conveying the psychological terror the character should have. As for Jim Carrey… well, he’s Jim Carrey. And in this context, that’s not a compliment. The Riddler, who could’ve been a clever, manipulative villain, is just a nonstop barrage of goofy faces and unfunny jokes. Carrey was at the peak of his career, and to many teens at the time, he was “the man,” but his hyperactive style here goes way overboard. Instead of fearing the villain, you’re just hoping he’ll shut up for a second.

Schumacher’s Gotham, with its neon aesthetic, is a tacky, cartoonish version of the gothic city that Tim Burton so skillfully built in the earlier films. There’s an overabundance of bright lights and massive statues, but everything feels superficial and fake. While Burton’s Gotham was dark and oppressive, Schumacher’s feels like a tasteless amusement park. The soundtrack? Well, maybe the one saving grace is Seal’s “Kiss From a Rose.” But let’s be real, when the best part of a superhero movie is a song that doesn’t even play during the major scenes, you know something went wrong.

In the end, “Batman Forever” is a mess of bad choices. It’s not just a step backward from the darker, more introspective tone of “Batman Returns,” but it’s also a textbook example of how trying to please everyone can end up creating something soulless. The movie wanted to be fun, wanted to be colorful, wanted to be marketable—and it succeeded. But in doing so, it sacrificed what made Batman interesting: the complexity of the character, his internal struggles, and the atmosphere around him. Watching it now, it’s clear that “Batman Forever “is one of the lowest points in the history of the Dark Knight on screen.