What You Need To Know:

• Batman’s first time in theaters were film serials in the 1940s, but his first feature film was released in 1966.

• The Batman Anthology started in 1989 and ended in 1997.

• Christopher Nolan’s trilogy started in 2005 and concluded in 2012.

• Only solo films are on this list, so no crossovers with other franchises.

Batman, along with Superman and Wonder Woman, has always been among the most famous of DC superheroes. Created by Bob Kane and Bill Finger in 1939, Batman has gone through many different interpretations during its 83 years. With the upcoming release of The Batman starring Robert Pattinson, I wanted to take a look at previous adaptations of the character and see how they hold up as entertainment and how well they represent the character and his mythology. I will be ranking wide-release theatrical films. There will be no film crossovers with other franchises (Lego Batman), and films that center on the Batman character will be the only ones included (examples such as Justice League and Suicide Squad will not be included for that reason). From choices such as Adam West, Michael Keaton, Kevin Conroy, and Christian Bale, everyone has their favorite. Ultimately, however, how do they rank against each other? Well, that’s what I am here to settle. Eight live-action films and one animated film going from worst to best. Let’s get started!

#9: Batman and Robin

It seems that this 1997 film is attributed to killing both the original Batman anthology and a Tim Burton Superman film starring Nicolas Cage. It is also considered one of the biggest box-office bombs Warner Brothers released in the 1990s. However, is the film bad enough to warrant all of these claims? Well, in certain aspects, I can see why this film is considered a disaster. It is a total departure from what Tim Burton created, and it’s one of the cheesiest comic books films to exist. However, on the other hand, it’s a film that’s also an entertaining cartoonish disaster at the same time. 

There is a weird energy and intrigue I have when watching this film. I know that its story and characters are not well-written, but I can’t help but chuckle watching Arnold Schwarzenegger say horribly cheesy ice-related puns and one-liners. George Clooney’s performance as the Caped Crusader is also interesting to watch since it seems that he is playing the character very nonchalantly and with a mellow attitude not seen on the big screen very often. Uma Thurman probably gives the best performance in this film, but it’s still hammed up to the max. The objectively worst character writing goes to Chris O’Donnell’s Robin. He is whiny, annoying, and unmotivated throughout the film, and his character never goes through any development or changes. Writer Akiva Goldsman’s story is paper-thin and is often overshadowed by the film’s other over-the-top components.

The most interesting parts of this film are its technical aspects. While I prefer Burton’s gothic cityscapes and art direction, director Joel Schumacher’s Gotham City is a visual spectacle with plenty of unique vistas. The miniature models hold up very well and have stood the test of time compared to the minimal, but noticeable use of CGI in the film. The cinematography exudes bright primaries and dark brooding blacks whenever the scenes call for it, the scenes set in the Batcave being standouts. Schumacher, who later apologized for how the film turned out, had an eye for visual filmmaking that doesn’t get talked about as often as it should. Batman and Robin may be a mess, but it is a classic Hollywood visual spectacle that isn’t often seen anymore with everything seemingly being created on a computer nowadays. 

This film has been compared to Adam West’s Batman show and has been described as a spiritual continuation. While I can see that side of the argument, I think this film was created more with selling toys in mind. Joel Schumacher said that executives from Warner Bros. described that they wanted the film to be “toyetic” and those toy companies helped design the vehicles and costumes. That was the ultimate downfall as to why the film failed. The studio was too concerned with creating profit for toy production rather than making a good film that would sell toys regardless. Production killed this movie before it got off the ground, and the product is a failure to know its target audience. It’s an interesting and historic failure, especially concerning comic book cinema, but it’s still one that needs to be seen at least once by fans. It’s bad, but it’s fun.

#8: Batman Forever

Schumacher’s interpretation of Batman is more toned down in this offering, as opposed to its sequel. His visual design and campy tone are still here, but much of the film is better directed and more refined than the 1997 sequel. Kilmer plays the character in a more grounded and grittier way than Clooney, and it’s a shame that he never portrayed the character again. I think he could have been an incredible Batman and Bruce Wayne in a better film. The villain performances are fun as well, even if Tommy Lee Jones doesn’t play Two-Face accurately to the comic books. Jim Carrey’s interpretation of the Riddler is much like Frank Gorshin’s portrayal in the 1960s television show, but it feels like an appropriate homage for what Schumacher was going for. Nicole Kidman and Chris O'Donnell play their roles fine, and Robin’s origin is very comic accurate. 

The biggest issue with this film is the inconsistent tonal shifts. The film can go from echoing the tone of Tim Burton’s films to trying to be like the 1960s show. While I don’t mind if things go over the top (it is a comic book film), the tonal inconsistencies lead to story and character inconsistencies. Carrey’s Riddler has a dark back story on paper, but his performance has no subtlety in those sequences. It would make sense for him to go off of the rails after his transformation, but not before. His origin story might be the first of its kind, but the “insane admirer wronged by the superhero they love” storyline is now a cliche in comic book cinema. The action in this film, while entertaining, is often visual and aural noise that can be overwhelming to the viewer at times. 

Schumacher’s eye for filmmaking is better here than it is in Batman and Robin. This film won the Academy Award for best cinematography, and it was well deserved. As stated earlier, I don’t think these visuals fit the character well, but they’re still striking. Watching the film, especially in 4K, brings out the amazingly vibrant color palette and interesting shot composition. The visual effects and set design are wonderful, and the film remains a looker to this day. I implore one to watch the film at least once for the visuals alone. It’s also more visually consistent than Batman and Robin.

Batman Forever is an average crowd-pleasing summer blockbuster. The visual filmmaking is fantastic, but the movie built within the visuals is nothing special. It’s begging for a director’s cut with all of the deleted scenes and the footage that was cut from the early screenings. If that ever comes to fruition, then it will probably be held in higher regard than its original theatrical release. 

#7: Batman (1966)

My personal connection to this film is the primary reason why it ranks ahead of the Schumacher adaptations, for me. While I can’t say that I grew up watching the show during its original television run, I had the opportunity to experience the film in theaters. When the film premiered in 1966, it did so in Austin, Texas, because the company who built the Batboat agreed to build it for free if it premiered there. In 2016, the Paramount Theater did a 50th-anniversary screening of the film to the public, and it was one of the most fun movie theater experiences of my life. There were tons of fans old and new that showed up, and the enthusiasm for Batman and this incarnation of the character were strong. I’ll include a photo of me standing next to a fan’s Batmobile replica cars. 

As for the film itself, Adam West and Burt Ward are a campy duo, but they’re as fun to watch as they were in the 1960s. Their iconic portrayals changed public perception of the character, for better or worse, but they’re memorable as are the villains. The Joker, Catwoman, the Riddler, and the Penguin form a collective supervillain organization to turn the world’s leaders into dehydrated dust (yes, seriously), as well as to take down Batman and Robin for good. The plot is ridiculous, but the film’s tone isn’t taken seriously from beginning to end. I usually don’t mention plot elements because of spoilers, but I needed to illustrate how insane the story of the film is. “Comrade Kitanya Irenya Tatanya Karenska Alisoff'' is how Catwoman introduces herself to Batman in the first act. Need I say more?

The technical presentation of the film is like an extended episode of the television series with a higher budget. Everything is upgraded: sets, scale, wide cinematic aspect ratio, music, and special effects. It is not on the caliber of something like a then-contemporary Sean Connery James Bond film, but the larger budget is appreciated for some cinematic flavor. The updated comic book onomatopoeia for the fighting sequences is appreciated as well. The next theatrically released Batman film in 1989 is a visual marvel, but for what this, it’s perfectly acceptable within the continuity of the television series. 

If you know what you’re getting into, Batman 1966 is a fun ride. For the fans that aren’t fond of campy and cheesy interpretations of the Batman character, I do not recommend this film to you. For the unconverted or the old fans, this film will either be a funny experience or a nostalgic treat.

#6: Batman Returns 

Batman Returns is a modern German Expressionist film with Tim Burton’s signature visual flair. The makeup, art direction, set design, character design, and close-up shots within the gothic cinematography take a lot of inspiration from films such as The Cabinet of Dr. Caligari. Burton’s dark tone is heightened in this entry, with plenty of violence and a surprising amount of gory showmanship. The dark themes and portrayal of the villains are what made parents who took their children to see this film angry and eventually led to the new and more palatable direction that Batman Forever would take. 

Three villains in one superhero film can often be a hard balancing act for writers, but since the villains in Burton’s Batman films are often the primary focus, they each get a sufficient amount of development. The two main villains are among the most memorable in the Batman film canon. Danny Devito’s portrayal of the Penguin is disgusting, vile, rancid, and any other adjective one can think of to describe this foul and sexually deviant character. It’s not accurate to the comic book version of the character at all except for the design, but it’s a fantastic performance and engaging rendering of the character. Michelle Pfeiffer’s Catwoman is the standout of the film and has inspired various newer incarnations of the character. While her origin is kind of strange even for this film, once she dawned the suit, she became the definitive version of the character until Anne Hathaway stepped into the role 20 years later. Christopher Walken as the film’s tertiary villain Max Shreck (who is named after German Expressionist actor Max Schreck) is an unnecessary character edition, but his screen presence is always incredible. With regards to the titular hero, Keaton’s Batman has always been a shadow within the films he’s in, but the subtlety of his version of the character has always been an understated aspect of his performance. I will go into more detail about his performance in this film’s predecessor, but he’s just as good here as he was previously. 

Burton’s crafted world is just as striking as it was in 1989. His version of Gotham City is my favorite of any film adaptation. It’s stylish, gothic, and iconic; with a musical score by Danny Elfman that helps create an atmosphere that has stuck with moviegoers to this day. The dark black and shadows that cover the entire film leave it with an appropriate graphic novel feeling, courtesy of cinematographer Stefan Czapsky. I will include many stills and famous shots from the film to illustrate how beautiful it is. Burton’s visual style of Batman would inspire the creation of Batman: The Animated Series as well, so even if you don’t enjoy the film, it’s responsible for creating one of the best-animated shows to exist. I’ll leave the visuals to speak for themselves. 

While Batman Returns is more ambitious than its predecessor, the greater amount of ambition leaves it with a greater amount of flaws. For all of the dark and brooding elements, there is an equal number of cartoonish elements that mesh better with the tone of Batman Forever. There is still a lot to like about it, but the flaws and the overall feeling of the film make it rank lower in the list. It is still a fun film and a visual treat to enjoy if you’re going to check it out.

#5: The Dark Knight Rises

Christopher Nolan’s conclusion to his Dark Knight trilogy is filled with both some minor and some rather glaring plot holes. It is also emotionally hard-hitting and among the best thematic conclusions to any superhero trilogy. Nolan’s epic filmmaking style culminated with a story that wrote a conclusion to Nolan’s Bruce Wayne that many people were pleased to see, and is the only end possible for his story arc in Batman’s cinematic history. 

Tom Hardy’s Bane is a cunning and calculating villain. Even at the height of 5’9, his presence feels similar to his much larger comic book counterpart. Bane is a real threat to Batman, and it’s interesting to see someone who is on Batman’s combat skill level continually win throughout the film. The opening scene and introduction to Bane is pure excellence in epic scale storytelling with IMAX filmmaking, practical stunts, and immersive sound design. It is among the best villain introductions in cinema, along with the Joker from the previous film. Christopher Nolan writes the villains very well, and that’s where this trilogy shines. The character writing is the best out of any of the live-action Batman films, and it will be hard to top.

Christian Bale is an actor that can give a good performance with any kind of material. I believe that he is overall the best version of the character on the big screen. He’s a calculated detective, master tactician, a shadow in the night, and his Bruce Wayne is a mask of who he truly is. His story arc is probably the best in Batman Begins with the complex origin story, but this film has a better focus on his story than The Dark Knight. Grizzled, beaten up, and a shadow of his former self, he redeems himself for the people of the city and comes to terms with his humanity. Anne Hathaway’s Catwoman helps bring Bruce Wayne back from a recluse, and their chemistry is one of the highlights of the film. Joseph Gordon-Levitt plays a “sidekick” to Batman, and his inclusion is a positive one even if it doesn’t change the film very much overall. 

I’ve talked about the technical aspects of each film, but I want to leave a majority of the technical discussion for The Dark Knight since I feel that it was more groundbreaking and frankly more engaging. The Dark Knight Rises is a flawed, but epic conclusion to one of the best Hollywood trilogies ever made. I would always encourage anyone to watch it if they’re making their way through the Nolan trilogy. The character writing and epic scale storytelling are worthy of your admiration even if some of it doesn’t add up in the film critic side of the brain. 

#4: Batman (1989)

One of the films attributed to kick-starting the modern superhero comic book subgenre (the other being Richard Donner’s Superman), Tim Burton’s Batman is a great introduction to the mythos of the character. For many people, this was either their introduction to Batman, or it was a reintroduction after the Adam West television series ended in 1968. While lacking more creative control from Tim Burton, the more streamlined narrative works in favor of a general audience. This film is easier on the senses, but still has as much personality as its sequel.

Jack Nicholson as the Joker often steals the spotlight away from Michael Keaton’s Batman, but I feel that this was an intentional decision. The Joker’s eclectic personality makes for a higher energy screen presence than the often “in the shadows” bat. Nicholson’s performance, while not held in as high of regard as Heath Ledger’s or Mark Hamill’s, is excellent as always. Capturing the vibe of the 60s Joker with a homicidal edge, he makes his character memorable just with his acting alone. Keaton’s reserved personality as Bruce Wayne leaves the audience wanting to know more about him, which can either be a good or bad thing depending on what someone wants out of the character. Unfortunately, his version of the character doesn’t receive much development throughout the two films. Hopefully, his return as the Caped Crusader is given more to work with in the upcoming Flash film. The supporting characters and cast are great as well, with everyone being memorable in their roles. 

Burton’s vision of Gotham is iconic, and that word isn’t being used lightly. The film’s technical presentation has stood the test of time, and it is more striking than many modern comic book films. The look of this film inspired the look of contemporary Batman media, with cartoons and video games taking inspiration from his film in particular.

Burton’s storytelling a lot of the time often takes a backseat to the visuals, but it’s hard to complain when the visuals are incredible eye-candy. Often imitated but never duplicated, this film is a visual wonder that exudes personality. The cinematography, set design, and classical forms of expanding the world will never age. A special mention has to be made for the musical score. Danny Elfman created one of the best musical scores in film history, and his theme for Batman is still associated with the character more than 30 years later. Very rarely do I listen to film scores when not accompanied by the film, but this is one that any classical music enthusiast should listen to.

While it might be considered outdated by some contemporary moviegoers, this film still has a lot going for it. Its biggest strengths are the visuals, but excellent acting performances along with its importance to cinema are more than enough to give it a watch. Of the classic Batman anthology, the original still holds up the best. The box office would agree as well. 

#3: Batman Begins

After Batman and Robin effectively killed Batman on the big screen for eight years, director Christopher Nolan stepped in to create a character-driven Batman film with English actor Christian Bale as the title character. The result was the best comic book origin story put to film and the creation of one of the best film trilogies to exist. While the action isn’t nearly as impressive as the later entries, the heart of the film is in its aforementioned excellent character work and performances. 

The first act of this film is the shining component. There is a reason that Ben Affleck’s version skipped the origin story. It can never be outdone. It’s often funny to me that my favorite part of this Batman movie is the act that contains no Batman at all. Bruce Wayne finding his moral compass and training in the League of Shadows is compelling for a character that has seen no development before this film. Liam Neeson as Henri Ducard, acting as Bruce Wayne’s mentor, adds a dynamic that aids Bruce’s eventual development into Batman. The first act also utilizes flashback sequences to demonstrate the amount of growth Bruce Wayne has gone through since traveling the world. He was once a resentful young man with pure revenge for his parents’ killer on his mind, but his moral dilemma is brought into question by his lifelong best friend, Rachel Dawes. Dawes is a creation for the film, being a composite character of Barbara Gordon (Batgirl) and Andrea Beaumont. Katie Holmes is fine as Dawes, but would later be recast by Maggie Gyllenhaal in The Dark Knight. Michael Caine is excellent as Bruce Wayne’s butler, Alfred. He gives life and personality to the character, and he is the biggest supporter of Bruce Wayne even if he isn’t enthusiastic about the Batman persona. Gary Oldman is a fantastic actor, and his Sergeant (later Commissioner) Gordon is the best of any actor to portray him on this list. One last performance to mention is Cillian Murphy as the Scarecrow. He is underutilized, and, unfortunately, not much was done with him throughout the trilogy. He isn’t treated as a joke character, but he is never an integral focus. 

Nolan’s action filmmaking isn’t refined here, but it’s still serviceable. However, all of the behind-the-scenes work is excellent. Gotham City doesn’t exude the style of Burton’s films, but Nolan’s grounded approach is the most stylish in this entry. The brown overcast colors give Gotham the gritter feel of a rundown metropolis. The use of miniature models instead of CGI will help the film with age, and the integration is still seamless. Hans Zimmer’s and James Newton Howard’s musical score is a perfect example of the style working for the film, but it isn’t going to leave the grandiose impression of Elfman’s. All-in-all, it’s a very well-made film, but not as stylish as what came before and what would come after. 

Character work and a wonderful origin story are what makes Batman Begins special. The plot, while competently written, is a way for characters to interact and engage in interesting dialogue. A great start to a trilogy and a great film overall, it needs to be seen. It is, in my opinion, the best introduction to the character on the silver screen. Out of all of the films on this list, start with this one.

#2: Batman: Mask of the Phantasm

When this animated film was conceptualized, it was originally going to be a direct-to-video release, but Warner Bros. granted the film a theatrical release because of the success of the animated series. While the tighter schedule might have been daunting, the creators managed to create one of the finest Batman stories put to screen, animated or otherwise. The film ended up bombing due to a botched marketing campaign that didn’t advertise the film to general audiences, but it still has managed to garner a large cult following and has more than recouped its budget with home video sales. 

Batman Begins might have taken a lot of inspiration from the character-driven sequences in this film, and one can see similar plot beats and ideas. Bruce Wayne’s origin is covered in the film through flashbacks, and while not as in-depth as Nolan’s take, is still a masterfully told version of the story. The main plot is where I feel the film is better than Batman Begins. The film is a mystery and love story. It’s an interesting direction to take, but it’s a mystery that will keep you guessing and a love story that the audience will genuinely care about.

With one of the best interpretations of the Joker being relegated to a tertiary role, how does the villain created for the film turn out? Well, the Phantasm is a creepy and underrated edition to the Batman canon. It’s a shame that the character hasn’t had a larger role in the comic books or Batman’s cinematic legacy. I always find it fascinating how some people opposed to animated adaptations haven’t given this film a shot, for that reason alone. They’re missing out on a story finer than most of the live-action Batman films.

Along with a theatrical release came a larger budget, and the animation style of the series translated well to the big screen. The dark art-deco-inspired design manages to translate to the wider aspect ratio seamlessly. It will never cease to amaze me that 2D animation has fallen out of favor over computers. While cel animation is a painstakingly long and careful process, it’s still wonderfully beautiful to look at. The 35mm film origins also fit the film’s tone. If the film had been animated digitally with contemporary methods, I feel that it would lose a lot of the charm to its visuals. The larger budget also allows for more cinematic and grandiose sequences, with scenes during the third act exemplifying this. The wonderful music from the animated series is expanded upon as well, and composer Shirley Walker does a fabulous job with the emotional and dramatic cues. While the film isn’t on the same level as an animated epic along the lines of Akira, it shines with the signature style that made the animated series so beloved from the onset. 

Hardcore fans of the animated series have likely already seen this film, however, for the uninitiated, this film is necessary viewing if you’re looking for one of the best Batman stories. Any viewer can watch this film without prior knowledge as it is mostly a prequel to the story, and everything else is digestible. With a runtime of only 78 minutes, this fast-paced and engaging expansion to the animated series is definitely worth a watch.

#1: The Dark Knight

Epic, sensational, legendary, tremendous…these are all great adjectives to describe Christopher Nolan’s magnum opus and the best Batman film (and one of the best films in general) to hit the silver screen. Never has a Hollywood blockbuster been able to transcend the confines of a genre quite like this one. Fans, cinephiles, and general moviegoers all admire the many amazing aspects of this production. It’s difficult to inject an opinion on this film since so much has been said, but every opinion is different and worth telling. 

Taking inspiration from the legendary heist film Heat, Christopher Nolan created a tense story that keeps the viewer on the edge of their seat for nearly the entire runtime. The action sequences, shot beautifully in IMAX, are among the best to be put to screen. Just thinking about them gives me shivers. It isn’t just upping the ante from the previous installment, it’s in a completely different ballpark. The plot is the best-written out of the Dark Knight trilogy and will have the audience glued to the screen for every second.

Nolan’s technical approach to filmmaking has always been fascinating to me. He is very much into practicality with his productions, with him wanting to create as much as possible in the real world rather than computers. The film will forever be impressive since almost everything was done in-camera, and the CGI that is in the film is integrated with practical effects to make it come off as realistic as possible. His combination of traditional 35mm and IMAX footage might annoy the viewer for the changing aspect ratios, but I feel it adds to the grand scale of the scenes. This film is one of those special movies that needs to be seen in the theater at least once. I wasn’t able to see it during the original theatrical release, but the next re-release it receives, I will be attending. 

One can’t talk about this film without Heath Ledger’s masterful performance as the Joker. It’s one of the best villain performances ever put to film, let alone comic book cinema. Ledger’s Joker is an anarchist with little care for human life and laws, doing whatever it takes to achieve his goal of burning Gotham City to the ground. He quite literally has one of the most terrifying screen presences ever. His posthumous Academy Award for “Best Supporting Actor” was more than well-deserved for this performance. I want to elaborate more on the complexities of his work, but I would rather you just watch the film and experience it for yourself. Missing out on this legendary performance is a travesty for film lovers and fans of the character. Aaron Eckhart’s Two-Face is also very understated in the film. People often forget about mentioning him because the Joker is incredible, but his character and story arc are extremely well-done.

If I haven’t convinced you to watch this film yet, do it. It’s one of the best films of the still early 21st Century, and one that will be remembered fondly in the coming years for everything that it accomplishes. Everything culminated perfectly to make one of the best films of its kind. The Dark Knight is the best Batman film, and if somehow Robert Pattinson’s version surpasses it, I will update this list with it at the top. As it stands, it’s not going anywhere.