“Batman Returns” is a gem that could only have been made in the ‘90s. Directed by Tim Burton, the movie is a gothic parade of visual oddities and characters that flirt with the grotesque, all wrapped up like one of the darkest Christmas presents ever. While many superhero movies get lost trying to take themselves too seriously, “Batman Returns” seems to have fun by not caring about that at all.

Danny DeVito’s Penguin is probably the best example of this craziness. The deformed and slimy figure of Oswald Cobblepot is like a dark fairy tale, closer to a Grimm witch than a classic comic book villain. DeVito fully commits to the role, turning into an almost animalistic, dirty, and in a way, tragic being. What’s interesting is how the movie doesn’t shy away from showing his true nature – a reject, even abandoned by his own parents. The fact that his plan involves kidnapping and killing Gotham’s firstborns only adds to the over-the-top and dark tone of the film.

On the other hand, we have Michelle Pfeiffer as Selina Kyle, Catwoman. Pfeiffer steals every scene she’s in, delivering a performance full of irony, sensuality, and at the same time, pain. Her transformation from an oppressed secretary into a vengeful feline is one of the most memorable in comic book movie history. Selina’s tight vinyl suit and her personality reflect the duality between fragility and power, and Pfeiffer moves between these extremes with shocking ease. It’s funny how, in a movie with Batman in the title, it’s really the villains that dominate the screen (again).

Speaking of the Dark Knight, Michael Keaton is almost a side character in his own story. This version of Batman is more reserved, introspective, almost like a ghostly presence that shows up more to react than to act. And, oddly enough, it works. Keaton understands that in this bizarre, twisted world Burton has created, less is more for the hero. We don’t need long monologues or explanations. When Batman shows up, his presence alone is enough to balance out the chaos the villains are causing. No wonder Keaton’s first line isn’t until 36 minutes into the movie...

Visually, “Batman Returns” is a masterpiece. Burton creates an environment that feels like it came straight out of an expressionist nightmare, with Gotham’s gothic architecture exaggerated even more by the Christmas decorations. The snow-covered streets contrast with the darkness and corruption that run through the city, and every set detail seems designed to amplify the feeling of strangeness and decay. From the giant duck that serves as Penguin’s vehicle to the department store with a rotating Felix the Cat head, the design is a blend of surrealism and absurdity, but it works perfectly within the movie’s context.

But not everything is perfect. Maybe the biggest weakness of “Batman Returns” is its plot, which often gets lost amid the excess of characters and subplots. Max Shreck’s motivation, played by Christopher Walken, as an unscrupulous businessman, ends up taking a backseat, and his plan to drain Gotham’s energy feels almost irrelevant compared to the bigger threats in the movie. Still, Walken brings a peculiar charm to the role, making Shreck memorable, even if a bit unnecessary.

“Batman Returns” is a delicious anomaly in the world of superhero movies. It’s not a film for everyone, and it’s definitely not the kind of production we see today, with scripts designed to please as many people as possible. It’s dark, over-the-top, and at times, absolutely ridiculous – and that’s exactly what makes it so fun. It’s a unique vision from Tim Burton, where the surreal and grotesque walk hand in hand, and where the villains are so fascinating that the hero almost doesn’t matter.

For those looking for a traditional Batman experience, “Batman Returns” might be disappointing. But for those open to Tim Burton’s stylized chaos, it’s one of the most unique and unforgettable superhero movies ever made.