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The old-fashioned arched windows look out on the Market’s famous clock, while the interior aesthetic is a familiar neo-industrial one — polished wood and riveted metal panels, filament light bulbs and a futuristically underlit coffee counter.

Scenes are underlit, projections of time and place appear and disappear before they can be read.

Additionally, throughout there remains a suppressed color palate that keeps the presentation looking a bit underlit, with occasional pale skin tones and some sickly-hued scenes that enforce a gritty realism.

Still, it’s hard not to wish that the filmmakers, if not their characters, showed a bit more cinematic savvy: A few moments of well-mounted tension aside, the cumulative effect of all this underlit mayhem is less suspenseful than monotonous.

Underlit and overlong, “The Batman” draws its references from sources as diverse as film noir, Scandinavian death metal and garden-variety serial-killer pulp.