CREDITS: Written by Sean Catherine Derek, Laren Bright (whose other credits include A Pup Named Scooby-Doo and Captain Planet and the Planeteers) and Mitch Brian; directed by Kevin Altieri.
REVIEW: Pulling a Rashomon is by now something of a cliché, but if done well, can nevertheless prove to be a good character-building exercise. Unfortunately, P.O.V. doesn't really go for it and undermines its own structure in a couple ways. First, it doesn't REALLY show us the story the way it's told, so for example, when Bat-antagonistic Bullock paints himself as a hero and Batman as an interfering incompetent, we actually see him making all the mistakes. Sure, okay, it paints him as a self-serving liar, and that carried a certain ironic weight, but it feels like the show doesn't respect its audience enough to know that Bullock wasn't the hero of this story and his POV is thus an obvious fake. Similarly, the rookie Wilkes who thinks Batman has supernatural abilities could have had his story presented as such, and the audience would have seen it for the fantasy it was. And then Montoya's straighter narrative would have served well as the more balanced view. Instead, the structure is used to show us different moments in the story, which isn't really the best use of it.
And in any case, once that initial interrogation happens, we're back into a more normal structure, with an action climax on the docks, which at least gives the newest member of the Batman Family, officer Montoya, a chance to shine. In P.O.V., she's a straight arrow nevertheless unafraid to play rogue cop once on suspension, she runs towards danger and drives like a demon. Good show. Gordon doesn't do too bad either, showing absolute trust and loyalty for his people (even the obviously lying Bullock), though it does mean the Internal Affairs guy is weak and too easily bullied. Gordon just undoes the suspensions and looks the other way when Montoya goes rogue; let's just say it's not a realistic police procedural.
Since Montoya and the GCPD are the stars, Batman gets short shrift - not that there's anything wrong with that - and the villains are distinctive, but not memorable one-timers. Driller, the guy who looks like John Arcudi's The Creep and wields a big drill/jackhammer is perhaps the exception, but neither he, nor Scarface (not the Ventriloquist's puppet), nor The Boss are worth investing in. So they're perhaps TOO distinctive for their function here. It seems like they SHOULD appear again, but don't, so who cares? Their fight has quite a few gags, including the amusing bit where Driller falls into the drink a second time when another thug is thrown off the pier, but a proper gag would have had him fall a third time. As with the rest of the episode, they just don't push it far enough. So while there are touches I love - the red lighting from the police cars, for example - this otherwise falls one draft short.
IN THE COMICS: Wilkes's account plays Batman as almost supernatural, or at least, definitely super-powered, evoking Detective Flass' perception of the Batman in Batman: Year One.
SOUNDS LIKE: Wilkes is played by Robby Benson who just so happens to also voice the Beast in Beauty and the Beast. The voice of Driller is ALSO voiced by someone who's played the Beast, one Ron Perlman! The more famous of the two, surely.
REWATCHABILITY: Medium-Low - A good showcase for Renee Montoya, but the unusual structure isn't really completely embraced.