‘The Penguin’ Review: The Dark Blight

When was fun banished from Batman’s world? Certainly the tide turned with “The Dark Knight Returns,” Frank Miller’s 1986 series of comics. As exciting as they were, Miller’s books enshrined a claustrophobic, dystopian approach that has smothered many subsequent screen treatments.

In the immediate aftermath of the books, the Tim Burton films “Batman” and “Batman Returns” found thrills in the darkness. But when I sit through the subsequent Christopher Nolan blockbusters, or Todd Phillips’s “The Joker,” or even Matt Reeves’s recent reboot film, “The Batman,” I feel as if I were being punished for not being a serious enough (or depressed enough) viewer.

Reeves (“Dawn of the Planet of the Apes”) is a very talented director, and “The Batman” was easier to sit through than some of its ballyhooed predecessors. But it was ruinously long at three hours, its small store of familiar ideas about revenge and social decay running dry well before the movie ended. And Reeves’s Batman was such a stone-faced mope that poor Robert Pattinson spent the whole movie looking as if he were wondering where the bathroom was, not that he would have been any happier had he found it.

But the movie was beautifully shot, and Zoë Kravitz was the latest in a line (Julie Newmar, Eartha Kitt, Michelle Pfeiffer) of great Catwomen. And it had an odd, sideshow-like bonus: a beautiful movie star, Colin Farrell, rendering himself unrecognizable under a reported 50 pounds of latex to play a battered, ugly, all too human variation on a classic villain, the Penguin. The performance wasn’t fun, exactly, but it was definitely something to look at.

Now Farrell and his latex are back in “The Penguin,” an HBO series spun off from “The Batman.” (It premiered on Thursday night; its second episode will not appear until Sept. 29.) Even though the show is set in the immediate aftermath of the film, and the story features large-scale chaos, Batman is nowhere to be seen; apparently he’s taking a long vacation. So “The Penguin” is not a superhero show.

Instead, as developed by Lauren LeFranc (“Impulse,” “Agents of S.H.I.E.L.D.”) with Reeves as an executive producer, it is a particularly self-conscious gangster saga. Farrell’s Oswald Cobb (shortened from Cobblepot) is a midlevel mobster who sees an opportunity when his boss is killed and sets out to take over the Gotham City drug trade, peddling a new high called Bliss. Alternately opposed to him or allied with him is the boss’s daughter, Sofia Falcone (Cristin Milioti), recently released from Arkham Asylum with designs of her own on the top spot.