Batman & Robin (film)

"Vengeance isn't true power. Anyone can take a life. Giving life is true power, the power you once had."

"Hey Freeze, the heat is on!!"

"Why are all the beautiful ones homicidal maniacs? Is it me?"

"There is no defeat in death, Master Bruce. Victory comes in defending what we know is right while we still live."

"I'll cancel the pizzas!"

"We're going to need a bigger cave."

"As I told Lady Freeze when I pulled her plug, "This is a one woman show"."

"There's something about an anatomically correct rubber suit that puts fire in a girl's lips."

"It took God seven days to create paradise. Let's see if I can do better."

"Men, the most absurd of God's creatures. We give you life... and we can take it away just as easily."

"Sorry, my vines have a crush on you!"

"I'm a lover not a fighter, which is why every Poison Ivy action figure comes with him! [gestures to Bane]"

"I am Nature's arm. Her spirit. Her will. Hell, I am Mother Nature, and the time has come for plants to take back the world so rightfully ours! 'cause it's not nice to fool with Mother Nature."

"Kiss me and I'll tell you."

"One kiss...my love...for luck."

"Freeze in hell, Batman!"

"Freeze well."

"Let's kick some ice!"

"Grab the gem! Kill the heroes! Yes! Yes! Kill them!"

"The Ice Man cometh!"

"Allow me to break the ice. My name is Freeze. Learn it well, for it is the chilling sound of your doom!"

"What killed the dinosaurs? The Ice Age!"

"Can you feel it coming? The icy cold of space. At 30,000 feet, your heart will freeze and beat no more."

"I hate when people talk during the movie."

"Alright everyone! Chill."

"In this universe, there is only one absolute: Everything freezes."

"No matter what they tell you, Mr. Bane, it is the size of your gun that counts."

"You're not sending me to the cooler!"

"I hate uninvited guests."

"If revenge is a dish best served cold, then put on your Sunday finest: It's time to feast!"

"[freezes Robin] Stay cool, Birdboy."

"Dare to be cold, Batman?"

"Tonight's forecast: A Freeze is coming!"

"After you're frozen, your icy tomb will plummet back to Gotham."

"A laundry service that delivers. Wow!"

"I hope Mr. Bane can swim."

"I just thought the last one had been successful, so I thought I was just going to be in a big, successful franchise movie. [And] in a weird way I was. Batman is still the biggest break I ever had and it completely changed my career, even if it was weak and I was weak in it. It was a difficult film to be good in. I don't know what I could have done differently. But if I am going to be Batman in the film Batman & Robin, I can't say it didn't work and then not take some of the blame for that."

"I was in a rubber suit. I had rubber nipples. I could have played him straight but I didn't. I made him gay."

"Because of my love for the world of Batman, I went to Joel Schumacher's Batman & Robin with real anticipation. I got thrilled all over again by the Gothic towers of Gotham City. I was reminded of how cool the Batmobile is (Batman has a new one), and I smiled at the fetishistic delight with which Batman and Robin put on their costumes, sheathing themselves in shiny black second skins and clamping on lots of belts, buckles, shields, hooks, pulleys, etc. (How much does that stuff weigh? How do they run while they're wearing it?) But my delight began to fade at about the 30-minute mark, when it became clear that this new movie, like its predecessors, was not *really* going to explore the bizarre world of its heroes, but would settle down safely into a special effects extravaganza. Batman & Robin, like the first three films in the series, is wonderful to look at, and has nothing authentic at its core."

"Listening to Schwarzenegger's one-liners ("The iceman cometh!"), I realized that a funny thing is happening to the series: It's creeping irresistibly toward the tone of the 1960s TV show. The earlier Batman movies, especially the dark Batman Returns (1992), made a break with the camp TV classic and went for moodier tones. But now the puns and punchlines come so fast the action has to stop and wait for them. Although we don't get the POW! and WHAM! cartoon graphics, this fourth movie seems inspired more by the TV series than the Bob Kane comic character."

"What I'll remember from the film are some of the images, such as the Gotham Observatory, which is inside a giant globe held aloft far above the city streets by a towering statue in the Grecian style. And I will remember Mr. Freeze sadly looking at a little music-box figure of his wife. And Alfred poignantly searching his family tree on his computer. And Ivy's leafy eyebrows. My prescription for the series remains unchanged: scale down. We don't need to see $2 million on the screen every single minute. Give the foreground to the characters, not the special effects. And ask the hard questions about Bruce Wayne. There is a moment in the film where we learn that the new telescope in the Gotham Observatory can look at any place on Earth. "Just don't point it at my bedroom", Bruce Wayne chuckles. What is he chuckling about?"

"Joel [Schumacher] would sit on a crane with a megaphone and scream before each take, 'Remember, everyone, this is a cartoon'. It was hard to act because that kind of set the tone for the film."

"It's as if Clooney didn't spend any time figuring out what makes Batman tick. This is a rich man who is so weird and troubled that he dresses like a bat and chases criminals every night for years and years. Would a normal person do that? The rubber suit alone should have been the tip-off. This guy has problems."

"At a gala in Gotham City, the fabulous Poison Ivy makes her entrance in a fluffy magenta gorilla suit made from 450 Santa Claus wigs. Then she peels this off slowly as the band plays her theme song. And out comes the most show-stopping character in Batman and Robin, the fourth and most frenetically gaudy feature in the series. As played by Uma Thurman, Poison Ivy is perfect, flaunting great looks, a mocking attitude and madly flamboyant disguises. Like Mae West, she mixes true femininity with the winking womanliness of a drag queen. Poison Ivy captures the essence of Batman and Robin, a wild, campy costume party of a movie and the first Batman to suggest that somewhere in Gotham City there might be a Studio 54. Joel Schumacher, director and ringmaster, piles on the flashy showmanship and keeps the film as big, bold, noisy and mindlessly overwhelming as possible. In this context, it's not surprising that even the opening credit sequence is at fever pitch. The movie begins with Batman and Robin caught up in a crazed hockey match, taking off on a rocket and then surfing through space."

"[The costume] was made by Jose Fernandez, who was our brilliant lead sculpture. If you look at Batman and Batman Returns, it was the genius, Bob Ringwood who created those suits, so by the time we got to Batman Forever, the rubber and techniques had gotten so sophisticated. If you look at when Michael Keaton appears in the first suit, you'll notice how large it is. It was brilliant but the best they could do at the time. By the time Batman Forever came around, rubber molding had become so much more advanced. So I said, let's make it anatomical and gave photos of those Greek statues and those incredible anatomical drawings you see in medical books. He did the nipples and when I looked at them, I thought, that's cool."

"There was a lot of pressure from Warner Bros. to make Batman & Robin more family-friendly. We decided to do a less depressing Batman movie and less torture and more hero. I know I have been criticized a lot for this, but I didn't see the harm in that approach at all."

"If there's anybody watching this, that... let's say, loved Batman Forever, and went into Batman & Robin with great anticipation, if I've disappointed them in any way, then I really want to apologize. Because it wasn't my intention. My intention was just to entertain them."

"A film that boasts 10 Bat weapons specific enough to be mentioned in the press notes (plus four different "Batarangs") yet considers lines like "Freeze, you're mad" to be acceptable dialogue, Batman & Robin lives and dies by the aesthetic of excess, the familiar idea that anything worth doing is worth overdoing. You may admire its surface, but it is far too slick for even a toehold's worth of connection. While it would take more time than it's worth to list all the wrinkles of the film's Akiva Goldsman plot, Batman & Robin has the eerie feeling of having no beginning, no middle and no end. Watching it is like stumbling into the world's longest-coming attractions trailer, or a product reel for a visual effects house."