Critique Essay

Gregory Heppolette Critique Cre-3029
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Why is ‘The Dark Knight’ Trilogy’s Batman More Compelling Than His On-Screen Superhero
Counterparts?
Orphan gods from another planet, web-slinging wall-crawlers, playboy
philanthropists in flying armoured suits, mutant teams and billionaires with gadgets and an
animal mask jumping from rooftops; all of these terms refer to the many superheroes that
exist in the pages of comic books and their respective movies. Since the late nineties, the
superhero movie has seen an explosion in popularity, practically dominating the May
blockbuster season year in and year out from Marvel’s Blade (1998) up to last year’s reboot
of the Superman franchise, Man of Steel (2013). Amazing visuals combined with intricate
storytelling, political intrigue, morals, religion and even humour have succeeded in drawing
in larger audiences. In more recent years the superhero movie seems to have undergone
somewhat of a rebirth within the rebirth. It is the aim of this critique to research into
whether Christopher Nolan’s ‘The Dark Knight’ trilogy is responsible for this re-imagined
wave of superhero movies, since the second and third instalments are the two highest
grossing solo superhero movies of all time – each grossing worldwide over one billion
dollars. It will discuss what makes Batman so much more compelling than his counterparts
from other comic books.
Perhaps, to truly understand the Batman we have to deconstruct him. From the pages
of the comic books and graphic novels, to the small screen, to the silver screen the last
seventy-five years has seen Batman take on what is probably the most transformative
journey compared to his superhero counterparts. Fans saw the creation of the ‘camp’
Batman under the guidance of Adam West for television screens, in what nearly irreparably
damaged the dark and brooding nature of the comic book character. It took until the late

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eighties for that reputation – by the hand of Tim Burton - to be restored for the wider
audiences on film. Though these films took on an obviously darker tone to its predecessor
there was still a nightmarish childlike quality to them only for that reputation to once again
be besmirched by the last two family-friendly sequels as they became overly childish with
Jim Carrey’s ‘The Riddler’ and George Clooney’s notorious ‘Bat-nipples.’ We had to wait until
Batman Begins (2005)1to be released under the masterfully guided hands of director
Christopher Nolan to get the Batman we had been waiting for. From the Nolan brother’s
and David S. Goyer, we were provided with the hero that previous movies lacked. A vigilante
who was branded as such and hunted for his crime. This final transformation from the
cartoon superhero made famous among the recent generation of fans into the realistic hero
Batman could and should be immediately makes us sit up and take notice and not just carry
on eating our Saturday morning breakfast. Writer of The Dark Knight (2008)2, Jonathan
Nolan is quoted in the book The Dark Knight Trilogy discussing ideas of deconstructing the
Batman character for their new endeavour,
What struck me about the Iliad was the reason for its enduring appeal is it’s an
examination of what it means to be a man: how to make decisions, how to
reconcile irreconcilable things, what to do with feelings of anger and revenge.3
It seems from what Jonathan Nolan stated here he suggests that they went back to
the basics. Rather than showing us a character and saying this is what he can do, this is
what he has to do and this is how he did it, we get the sense of who the person is, how
he became the man he is and why, why we as an audience should care about the man
1
Batman Begins. Dir. Christopher Nolan. Warner Brothers Entertainment, 2005.
2
The Dark Knight. Dir. Christopher Nolan. Warner Brothers Entertainment, 2008.
3 Nolan, Christopher. The Dark Knight Trilogy. Faber & Faber, 2012. Pg.1-2.

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behind the mask. This view on the deconstruction of superheroes seems to be in
agreement with Danny Fingeroth,
Biblical and mythological heroes are clearly precursors of superheroes.
Odysseus, Thor, Moses are individuals of courage, commitment and noble ideals,
flawed though they may be as individuals.4
So, what makes the high-flying Superman and web-slinging Spider-man so different
from the avenging Batman, if these fundamentals are at the core of every superhero
ever created? The most glaringly obvious thing could be the strength of character –
however buried it may be in fantasy lore and impossible feats – at the centre of every
hero, the pure determination to stand for and protect a set of ideals. Interestingly, a
trait carried too by the villains, for we have no doubt that they perceive themselves as
the hero of their own story.
One thing that ‘The Dark Knight’ trilogy has successfully achieved is in attracting
larger audiences than its counterparts. A factor that may be responsible for this
achievement could be the trilogy’s penchant for more adult themes. Throughout the three
films Christopher Nolan and co-writer, David S. Goyer, attempted to stray from the norm of
superhero movies in which the hero is simply showcased against one of his more infamous
villains. This attitude towards the superhero movie seemed to swing in favour of the grittier
and more grounded character, perhaps achieving the height of its success with The Dark
Knight (2008)5 by addressing themes of chaos versus order. This filmchallenges the ethical
code of the Batman character as well as the morality of society as a whole, and by drenching
the story in political intrigue the audience is provided with a rather powerful link between
4
Fingeroth, Danny. Superman on the couch: What superheroes really tell us about ourselves
and our society. Continuum, 2004. Pg.16.
5 The Dark Knight. Dir. Christopher Nolan. Warner Brothers Entertainment, 2008.

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the narrative world and the real world. Ideas portrayed as chaos versus order on filmare
mirrored by ‘us’ versus ‘them’ in the war on terror and is more specifically relatable to
American society and the post-9/11 cultural myth. Lizabeth Mason discusses ideas of
imagery in the film reflecting the 9/11 terrorist attacks in her thesis, ‘While seen on a
smaller scale in The Dark Knight, shattering glass falling fromhigh-rise buildings still evokes
an extremely strong image within American media.’6 Now, whether or not the filmmakers
intended this is not in question, what they managed to do here, whether conscious of the
creative decision or not, was draw on particularly compelling imagery. This can be construed
as specifically relatable to the United States but following attacks across Europe and other
countries, such incidents as the 2004 Madrid train bombings and July 7th London Bombings,
more people would find the films a compelling watch. Suddenly, The Joker was cast in the
role of ‘Them’ and Batman in the role of ‘Us’ he was no longer just Batman’s most iconic
villain, he was ours too.
The most common thread between all superheroes is trauma. These are the stories
of men and women born to lead and save and embody the best qualities of human nature
and all of them are born of great tragedy. Whether it is personal tragedy such as Bruce
Wayne/Batman’s or a physical tragedy such as Bruce Banner/The Hulk. This sense of trauma
is present for all to see in the real world, the tragedies of war often bring nations together
under a single emotive identity, World War Two and the horrors of the Holocaust eventually
led to the creation of the United Nations as the first global governing body a symbol of
complete unity after a great heartbreak. The purpose of film is to evoke these emotions, to
remind us of past traumas and pains we thought were long forgotten, The Dark Knight and
6 Mason, Lizabeth D. "American Masculinity in Crisis: Trauma and Superhero Blockbusters."
Electronic Thesis or Dissertation. Bowling Green State University, 2010. Pg. 34.

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The Dark Knight Rises (2012)7 remind us of these great pains. Both films portray the iconic
villains not as ‘Super-Villains’ but as more realistically named ‘terrorists,’ and where the
Joker simply incites chaos because he believes it is more sane than law and order, Bane has
a more direct goal. His initial success plays on the fears we have concerning the failure of
those that protect us. The dominance of these themes seems to suggest the films are an
allegory of the war on terror. This is a view that is supported by Mason, ‘All the imagery of
these explosions is strongly reminiscent of that of the collapsing towers.’8 In particular,
Bruce Wayne’s seven year retirement from his superhero role and the subsequent
revolution of Bane seems to particularly suggest that we must remain vigilant lest the
terrorists strike while our guard is lax. In this metaphor, the Batman’s victory over the Joker
becomes symbolic of the defeat of Osama Bin Laden in 2011 and Bane becomes a
representation of the still influential Al-Qaeda sect. Furthermore, these films successfully
force the audience to acknowledge suppressed feelings towards the war on terror and it is
in this that The Dark Knight trilogy surpasses all other superhero films. Where films like
Spider-man (2002)9only suggest a brighter end with a hero who saves the citizens of New
York, Nolan’s Batman films approach the matter more directly.
As the world changes around us, so too must the superhero movie. Many of the films
are produced as direct representations of certain storylines within the comics, albeit with
many adjustments. Therefore, it becomes the responsibility of the production teams to
adapt stories that may have been written decades ago for a different audience into a
relevant story for the current age. For example, as Marvel characters led the charge in the
7 The Dark Knight Rises. Dir. Christopher Nolan. Warner Brothers Entertainment. 2012.
8 Mason, Lizabeth D. "American Masculinity in Crisis: Trauma and Superhero Blockbusters."
Electronic Thesis or Dissertation. Bowling Green State University, 2010. Pg.39.
9 Spider-man. Dir. Sam Raimi. Columbia Pictures. Marvel Enterprises. 2002.

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rebirth of superhero movies several of the origin stories were altered to seemmore
modern. Peter Parker in Spider-man was now bitten by a genetically altered spider rather
than a radioactive spider, as depicted in the source material, coinciding well with a surge in
interest in genetics around the time of the movie’s release. It reflects modern day interest in
stem cell research or cloning, which must have sounded like science-fiction in decades past
but is now a distinct possibility. Plastered across magazines and newspapers we see the
famous constantly altering their faces and body shapes unhappy with the genetics they
were provided with at birth. This obsession with altering ourselves to achieve a self-assigned
vision of perfection is most aptly described in The Incredible Hulk (2008)10 whereby the
search for a perfect soldier creates a monster, perfectly mirroring plastic surgery horror
stories. Maybe, the success of the superhero movie resurgence can be attributed to subtle
changes like this, simply by making the stories more applicable the audience of a new
generation is provided with a base foundation in which to enjoy the new franchises.
Possibly one of the film’s most harrowing yet important lines, first quoted by Harvey
Dent, before he adopted the ‘Two-Face’ super-villain persona, ‘You either die a hero or you
live long enough to see yourself become the villain.’11This quote resonates throughout the
movie almost like a self-fulfilling prophecy for whoever dares to utter the words, however,
its importance lies not in the filmfor the audience but in how it is perceived in the real
world. As a society every day we see actors, sportsmen, celebrities, and politicians reaching
the height of their fame only to be cast down, often suddenly and brutally, whether it is due
to drugs or drink or promiscuity or, as in the case of Batman, if we are made to realise they
are not the people they pretend to be. It is this complexity to the Batman character that we
10 The Incredible Hulk. Dir. Louis Leterrier. Universal Pictures. Marvel Enterprises. 2008.
11 The Dark Knight. Dir. Christopher Nolan. Perf. Aaron Eckhart. Warner Brothers
Entertainment, 2008.

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are drawn to; he is a broken man twisted by the pains of his past and is no more susceptible
to these sudden personality and popularity changes than we are. Paul Asay states, ‘Batman
sometimes acts as a saviour stand in. But for the most part, he’s not a Messiah figure. He’s
us.’12This statement seems to agree with the above point, perhaps what we find most
compelling about Batman, in comparison to his super-powered counterparts, is that his
weakness is not some form of magic or a glowing stone or a natural element. Simply put, it
is his human nature; after all, he is just a man. So, not only does he embody ‘Us’ in our
ideals, so too does he embody our penchant for mistakes. Perhaps in support of this is a
question posed by Mark White, ‘So why doesn’t Batman just kill the Joker?’13 Whatever
answer is given we are still left unsure as to our original decision. We question whether we
would still view Batman as the hero if he gave in and just ended the Joker and the threat he
poses. We see this desire in the interrogation scene between Batman and the Joker, while
Commissioner Gordon can do nothing but look on as Batman’s personal dichotomy breaks
through and culminates in a vicious beating of the Joker. Usually, we believe that a
superhero should do whatever it takes to save the masses, but what if the thing they have
to do is at the cost of their own humanity? Should we expect them to compromise
themselves in such a way? But, we forget that Batman is not a hero, he didn’t start his
vigilante career for the good of mankind, Bruce Wayne became the Batman because of a
personal vendetta against crime in his own city and maybe it should be up to him when and
how he carries out that mission, maybe, it is not for society to dictate. So, perhaps the
12
Asay, Paul. God on the Streets of Gotham: What the Big Screen Batman Can Teach Us
about God and Ourselves. Tyndale House Publishers, Inc., 2012. Pg. 6.
13
White, Mark D., and Robert Arp, eds. Batman and Philosophy: The Dark Knight of the Soul.
Vol. 2. John Wiley & Sons, 2008.

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question cannot be so easily answered when the answers we give throw up more questions
and again we dive into the tar pit of Batman’s complexity that we find so compelling.
So If The Dark Knight was the peak of superhero storytelling, how can it be followed?
Can different superheroes emulate the success or are they doomed to follow the path of
post-millennium superhero movie breakout? In the years that followed The Dark Knight in
particular there seemed to be a stark rise in the more realistic superhero archetype, perhaps
not in how they performed visually, aesthetically these films were still all about flying and
fighting and shooting, but, there was a change in the winds as the stories became more real,
more hard-hitting. Perhaps, one of the best examples of this is Zack Snyder’s Watchmen
(2009)14 a movie stuffed full with politics, international relations and ethical issues told from
the view of Rorschach – who could be described as a Batman who broke the ‘One Rule’ and
proceeds to carry out merciless justice to criminals of any kind. This film leads the audience
to wonder about how the themes reflect on us, about how the government protects us, on
how much we truly know about what’s going on behind-the-scenes. Since this story is
actually set over twenty years ago, there is already a certain appeal for an older audience, as
it deals with issues from the Cold War, the Vietnam War and the Presidential term of
Richard Nixon. However, this filmties neatly into the point previously made about the Post-
9/11 cultural myth in the United States of America, the implications felt by Adrian Veidt’s
disguised terrorist attack on Manhattan mirrors the attitude felt towards Al-Qaeda and
Osama Bin-Laden after 9/11. As an audience, we feel more involved by these implications as
it solidifies this sense of a national identity, again, the union of ‘Us,’ this time championed
by Rorschach, versus ‘Them,’ championed by Adrian. However, the success of this filmmay
14 Watchmen. Dir. Zack Snyder. Warner Home Video, 2009. DVD

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not be entirely down to its story but may be down to crowd pleasing, or to be more precise
pleasing the fan-boys of the original graphic novel. Snyder achieved with this film what no
superhero film has ever even attempted. Watchmen, though not to one hundred percent
capacity, was the closest any superhero film has come to being an exact representation of
the original source material, even the ‘The Dark Knight’ trilogy strayed heavily from the
original material that inspired them.
Possibly the most perfect example of how to follow Nolan’s trilogy comes from
Arrow (2012)15 which follows the trials of Oliver Queen as the Green Arrow, a somewhat
modern day Robin Hood character, he is commonly referred to as the poor man’s Batman in
the comic book world– despite still being a playboy billionaire vigilante. The producers and
directors of Arrow took on the task of emulating The Dark Knight trilogy for television
screens, and after gathering a rather large fan base and reaching the end of its second
season - an impressive feat for any show trying to survive in America - it may be safe to
assume that Arrow has succeeded in its goal. The emulations between the show and the
trilogy of films are almost endless, the character of Oliver Queen/Green Arrow is already
considered somewhat of a carbon copy of Bruce Wayne/Batman in the comic books. Grant
Morrison discusses the character of Green Arrow during one of the many reboots DC Comics
put their stringer characters through over the years, ‘The bland, gimmick-driven Green
Arrow found a voice at last as the title’s fiery liberal conscience,’16having already stated that
a previous incarnation of the character had already distanced itself from, ‘his faux Batman
15 Arrow. Warner Home Video, 2013. DVD
16 Morrison, Grant. Supergods: Our World in the Age of the Superhero. Random House, 2012.
Pg. 153.

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trappings’17, the show was given a character that visually could emulate the Christian Bale
Batman but was distinctively different. Having gotten over his personal vendetta in the first
season, the show’s second season allowed this liberal version of the superhero to shine
through. No longer would he kill in anger, now he was a champion of the people, a
protector of the ‘little guy’ that Batman never claimed to be. Perhaps this is the reason the
show continues to succeed critically and commercially as Nolan’s ‘The Dark Knight’ trilogy
did. You could say that, particularly as characters away from the movies and shows, Green
Arrow treats the symptoms whilst Batman cures the disease. Inherently written within the
characters’ stories and confined by what they can achieve by the comic books, it is to
Batman that we look to ultimately be the hero of our story and save everyone whether he
wants to or not.
It is conceivable that last the release of Man of Steel (2013)18held the most promise
in this revolution of superhero cinema. In the world of superheroes, Superman is the
precedent, the forefather, the god. So, naturally we assume that the most inspiring and
most powerful icon in superhero history would be able to knock The Dark Knight’s Batman
off his podium as the greatest superhero movie. Christopher Nolan produced, David S.
Goyer written and Zack Snyder directed, it sounds like a production dream team. And it is.
The filmwas distinctly darker in tone than the previous incarnations of Brandon Routh and
Christopher Reeve. However, Man of Steel fell well short of The Dark Knight’s one billion
dollar windfall. It looks as though the writers gave us a suitably believable world to ground
Superman in but it may be possible to accuse them of pandering to the fan-boys. By
assuming everyone in the audience is up to date on the Superman origin story, they
17 Ibid.
18 Man of Steel. Dir. Zack Snyder. Warner Home Video, 2013. DVD

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appeared to sacrifice some of the finer points of his story for the epic action sequences the
fans have deserved and didn’t get in Superman Returns (2005)19and thereby fell prey to
traps early post-millennium superhero movies did. Although, perhaps the short falls this film
suffered were not because of the production approach, because the movie did give us a
darker and grittier filmjust not enough of it, perhaps the fault lies in the character of
Superman himself. Grant Morrison posits that, ‘Superman began as a socialist, but Batman
was the ultimate capitalist hero, which may help explain his current popularity and
Superman’s relative loss of significance.’20Personally, I would disagree with Morrison’s
wording here, Superman will never have a loss of significance. It is by no accident that the S-
shield emblazoned across his costume is largely regarded as the most recognisable symbol
behind the crucifix of Christianity and it is exactly that reason. Superman has become bigger
than America, he is a global icon of hope and sacrifice, as a champion of immigration he is
the greatest representation of the vision of a co-operating pantheistic world. On the other
hand, the world, although progressive, is by no means close to achieving a pantheistic
dream. It does seemthat as opinions changed over the last seventy-five years we became a
society that no longer sought the hope of a better world that Superman represented but
craved the retribution that Batman offered us. It seems that in a world of persistent warring
and terrorism now no longer admired the hero of pure goodness but the one who is willing
to get his hands dirty, such as the Black Hawk team that took down Osama Bin Laden. To
quote Commissioner Gordon, ‘I hope you have a friend like I did...to plunge their hands into
19 Superman Returns. Dir. Bryan Singer. Warner Home Video, 2005. DVD
20
Morrison, Grant. Supergods: Our World in the Age of the Superhero. Random House, 2012.
Pg. 26.

12
the filth, so that you can keep yours clean!’21 It can be suggested that Batman’s use of
terrorism as a weapon against the terrorists is what is admired the most by today’s society.
We are still a violent and vengeful society, cries for retribution are still much louder than
those of forgiveness, and for now, that is reflected in a love for Batman in favour of a more
hopeful Superman.
It would probably be remiss to ignore what other studios have been recently
producing Marvel Studios, Fox and Sony all hold the rights to many Marvel comics’
characters and as a direct rival to DC Comics and Warner Brothers, it is possible that these
movies demonstrate how to perform as commercially successful as Nolan’s Batman. It is no
secret that Marvel products are designed to be much more humorous than their DC
counterparts and have a decidedly lighter tone, but this by no means excludes them from
serious stories. Eric Lichtenfeld appears to support this observation stating, ‘Whereas one is
a brooding noir, the other is a light romp, at times bordering on comedy.’22This is especially
true for early Marvel titles such as Fantastic Four (2005)23. However, more recent titles
seemed to have taken a leaf out of Christopher Nolan’s book, and have tried adopting
darker tones while retaining aspects of the light-hearted comedy. A prime example of this
would be the recently successful The Amazing Spider-man (2012)24, this latest incarnation of
the character, off the back of a third movie in a previous trilogy that nearly killed the
character’s on-screen career, was much more brooding. Often, he would take to rooftops in
contemplation much like Nolan’s Batman. The tone was much darker and the story much
21
The Dark Knight Rises. Dir. Christopher Nolan. Perf. Gary Oldman. Warner Brothers
Entertainment, 2012.
22 Lichtenfeld, Eric. Action speaks louder: Violence, spectacle, and the American action
movie. Wesleyan University Press, 2007.Pg. 320.
23 Fantastic Four. Dir. Tim Story. Twentieth Century Fox Film Corporation. 2005.
24 The Amazing Spider-man. Dir. Marc Webb. Columbia Pictures. Marvel Enterprises. 2012.

13
more personal, we feel more tied to this new Peter Parker’s plight, more invested in his
success because we are given a feel for who is. He is no longer being a hero because he was
told to but because he has an urge to help people, it is his own personal trait and partly
because he feels responsible for his part in creating ‘The Lizard.’ The Spider-man character
plays to the extremes of the Jungian archetype of ‘The Hero,’ Spider-man he is overly
competent and courageous and in that we find his greatest weakness, his over-confidence
and arrogance. But as an audience we enjoy this flawed character, Andrew Garfield aptly
portrays a man who’s personal struggle and powers allow him to swing between the cocky
teenager and dogged avenger, from comic jester to brooding hero. This is his most
compelling aspect, the fine balance between happiness and determination.
However, Nolan’s trilogy can only claimthe title of most successful solo superhero
movie. The title of the of the most commercially successful superhero movie goes to
Avengers Assemble (2012)25, the ensemble cast of superheroes is the culmination of years of
work between various directors of the solo films into what seemed like an impossible task.
Now, we bear witness to the power of the shared Marvel cinematic universe and with
Warner Brothers’ recently released plans to pursue a ‘Justice League’ movie it seems that
the future of the superhero movie lies in building shared cinematic universe and increasing
the profile of lesser known heroes such as Thor, Ant-man, Green Lantern, Hawkeye and
many others described by Morrison as ‘second stringers’26
As an aspiring fantasy writer, it is important to me to understand these god myths of
the modern age. The fantasy hero is not so different from the superhero, both follow the
25 Avengers Assemble. Dir. Joss Whedon. Marvel Studios. Paramount Pictures. 2012.
26 Morrison, Grant. Supergods: Our World in the Age of the Superhero. Random House, 2012.
Pg.53.

14
rules of the Jungian archetype and it is important that I gain a fully grasped understanding of
the ‘Hero’ archetype at a core level and who better to learn it from than those who created
greatest, most iconic heroes of the past century. Like those, who followed Nolan’s Batman
or the ensemble heroes of the Avengers, my goal is to emulate characters that can be
debated to a depth I never knew they could reach.
Given this new age of superhero shows no sign of abating and in fact seems to be
diversifying into other areas of cinema: spy thriller, fantasy adventure, crime, science-fiction
–or was it that they were always so diverse and producers have only just caught up? We can
only assume that we have only scratched the surface of the potential these movies hold.
The future seems bright for fans, new and old, as entire universes are constructed around
our favourite characters and Hollywood finally seems to be paying attention to what we
want: in-depth interesting characters, realistic threats, thrilling action, gritty themes and
darker tones. And it may be safe to assume that the Batman spearheaded the charge of the
revolution. We are living in dark times and we need our heroes to have lived in them with
us. We need them to question ourselves and help us grow.

15
Bibliography
1. Asay, Paul. God on the Streets of Gotham: What the Big Screen Batman Can Teach
Us about God and Ourselves. Tyndale House Publishers, Inc., 2012.
2. Brooker, Will. Hunting the Dark Knight: twenty-first century Batman. IB Tauris,
2012.
3. Irwin, William. Green Lantern and Philosophy: No Evil Shall Escape this Book. Vol.
21. Wiley, 2011.
4. Irwin, William. Superman and Philosophy: What Would the Man of Steel Do? (Vol.
79). John Wiley & Sons, 2013.
5. Feblowitz, Joshua C. "The Hero We Create: 9/11 & The Reinvention of
Batman."Student Pulse 1, no. 12. 2009.
6. Fingeroth, Danny. Superman on the couch: What superheroes really tell us about
ourselves and our society. Continuum, 2004.
7. Lichtenfeld, Eric. Action speaks louder: Violence, spectacle, and the American action
movie. Wesleyan University Press, 2007.
8. Mason, Lizabeth D. "American Masculinity in Crisis: Trauma and Superhero
Blockbusters." Electronic Thesis or Dissertation. Bowling Green State University,
2010.
9. Morrison, Grant. Supergods: Our World in the Age of the Superhero. Random House,
2012.
10. Nolan, Christopher. The Dark Knight Trilogy. Faber & Faber, 2012.
11. White, Mark D., and Robert Arp, eds. Batman and Philosophy: The Dark Knight of
the Soul (Vol. 2). John Wiley & Sons, 2008.

16
Filmography
1. X-Men. Dir. Bryan Singer. Twentieth Century Fox Film Corporation. 2000.
2. Spider-man. Dir. Sam Raimi. Columbia Pictures. Marvel Enterprises. 2002.
3. Daredevil. Dir. Mark Steven Johnson. Marvel Enterprises. 2003.
4. Batman Begins. Dir. Christopher Nolan. Warner Brothers Entertainment, 2005.
5. Fantastic Four. Dir. Tim Story. Twentieth Century Fox Film Corporation. 2005.
6. Iron Man. Dir. Jon Favreau. Paramount Pictures. Marvel Enterprises. 2008.
7. The Dark Knight. Dir. Christopher Nolan. Warner Brothers Entertainment, 2008.
8. Watchmen. Dir. Zack Snyder. Warner Brothers Entertainment, 2009.
9. Iron Man 2. Dir. Jon Favreau. Paramount Pictures. Marvel Entertainment. 2010.
10. Thor. Dir. Kenneth Brannagh. Paramount Pictures. Marvel Entertainment. 2011.
11. Avengers Assemble. Dir. Joss Whedon. Marvel Studios. Paramount Pictures. 2012.
12. The Dark Knight Rises. Dir. Christopher Nolan. Warner Brothers Entertainment, 2012.
13. The Amazing Spider-man. Dir. Marc Webb. Columbia Pictures. Marvel Enterprises.
2012.
14. Arrow. The C.W. Warner Brothers Entertainment, 2012.
15. Man of Steel. Dir. Zack Snyder. Warner Brothers Entertainment, 2013.

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