There is a scene that illustrates what I mean. It comes during the dreary central section of the film. Bruce Wayne (George Clooney) dines at home with his fiancee for the past year, Julie Madison (Elle MacPherson). Julie says she would like to spend the rest of her life with Wayne. Bruce hems and haws and talks about his bachelorhood and the complications of his life. Julie looks as if she has heard all of this before. The scene is interrupted by an emergency.

Watching it, I realized why it makes absolutely no difference who plays Batman: There's nobody at home. The character is the ultimate Suit. Garb him in leather or rubber, and he's an action hero--Buzz Lightyear with a heartbeat. Put him in civilian clothes, and he's a nowhere man.

I've always suspected they cast movie Batmans by their chins, which is all you see when the Bat costume is being worn, and Clooney has the best chin yet. But like Michael Keaton and Val Kilmer, he brings nothing much to the role because there's nothing much there. Most of the time he seems stuck for conversation. I think the way to get him started would be to ask about his technological gimmicks. This is a guy who would rather read the Sharper Image catalog than Playboy.

The series has been driven by its villains. They make some good memories: Jack Nicholson as the Joker, Danny DeVito as the Penguin, Michelle Pfeiffer as Catwoman, Tommy Lee Jones as Two-Face, Jim Carrey as the Riddler. In "Batman & Robin'' we get Arnold Schwarzenegger as Mr. Freeze, a man who can survive only by keeping his body at zero degrees (Celsius? Fahrenheit? absolute?), and Uma Thurman as Poison Ivy, a botanist who turns into an evil plant and wages war against animals. They earn their places in the pantheon of Batman's enemies, but the screenplay doesn't do them justice: It meanders, and some of the big action sequences are so elaborate, they're hard to follow (examples: the one where Freeze's men play hockey with a diamond, and a completely pointless motorcycle chase).

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.

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