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"Not a lot of reflective surfaces down in the sewer, huh? " asks an image consultant assigned to the Penguin's campaign, at which the Penguin tries to bite off his nose. De Vito deserves particular credit for conveying verve through the Penguin's feature-obscuring makeup, and for managing to seem charming even when drooling black ink. Walken, wonderfully debonair, would have been villain enough for any story, and is certainly one of the bright spots of this one. Because the film's predominant motif is that of wounded individuals re-inventing themselves as wily villains, its most memorable episodes are early ones explaining each main character's transformation. Beginning wittily with the troubled infancy of the Penguin -- as parents, Diane Salinger and a monocled Paul Reubens are seen throwing their offspring into a sewer, where he floats away to grow up among the birds -- the film moves on to the beleaguered secretary Selina Kyle (Michelle Pfeiffer) and her own peculiar evolution. But Max hurts her anyway, and only the efforts of a team of alley cats bring her back to life. It is weakest in a long, drawn-out finale that only emphasizes Mr. Burton's relative lack of interest in ordinary action sequences.

And Daniel Waters, who wrote "Heathers," gives this screenplay a sharper edge than the earlier film's string of dull taunts and insults. BATMAN" was an exceptionally hard act to follow, and that's no compliment. It says less about the first film's dark ingenuity than about its sour, cynical spirit and its taste for smirking sadism, qualities that dimmed the urgency for a return visit to Gotham City and its trouble-plagued citizenry. Batman (Michael Keaton), is easily overlooked amid all the toys and troublemakers that surround him. This Batman, with motives and magical powers that are never made interesting, is at best a cipher and at worst a black hole. Keaton, who plays the character with appropriate earnestness) is symptomatic of this material's main shortcoming: almost nothing about it makes sense or particularly matters. Burton is often casual about plot considerations, which means that audiences watching his films are set adrift as if in dreams.

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