Cinematography of The Batman (2022)

 What's good Y'all!

The Batman is officially out on blu-ray and I could not wait to do my breakdown for this gorgeous a** movie, to celebrate. Easily my favorite Batman movie to date and you can check out my review, if you haven't already!

If you've seen my review or just watched it, you can see my admiration for this film. Without drawing this out any longer, lets get into the breakdown!

I love how subtle the title card reads within the movie. It felt like Joker all over again and after seeing it so man times, it definitely fits.

I love the choice of lens used here. That depth of field really adds to the mystery of who this is watching someone, who we also don't know at the time .

The POV stays the same but switches position to put the viewer in the eyes of the stalker. What's so cool about this is, Batman is known to stalk criminals but here it feels way less cool and wrong, Dangerous even .

The lighting in this movie is spectacular! Reeves and crew really captured the essence of what true night and darkness look like. Often times we perceive night as being pitch black but that's only the case in a place where natural light cannot be seen.  This scene really feels like it's being lit by the television and small lamps surrounding the area. 

I LOVE this reveal. Great way to play off the light and framing. My theater let out a gasp because it was such a good jump scare to sneak in, to introduce the Riddler. This is one of those shots that you'll miss in the blink of an eye, & losing this layer of context, takes away from the scene entirely.

As stated earlier, hell of a way to introduce our villain in the story. Like Batman, he stalked his prey without them being aware of his presence. I really like the framing of both shots. He's still, waiting to pounce and holding the sequence like this increases the tension. 

Such a perfectly framed shot, that tells you all you need to know about what's happening. Though there's a shallow depth of field in the background, you can clearly see a body lying on the ground between the intruders legs, and the bloody carpet tool in the forefront. There's been a murder.

This light bulb was definitely photographed this way to look like a mask. The macro shots are used really well all throughout the movie to intensify what's being shown on screen. 

This is the best Gotham has ever been depicted on film in my honest opinion. The city is a character of it's own and opening with this skyline as the rain falls is the first layer of that characterization. 

"Hidden in the chaos is the element." I love how when this line hits, Bruce is actually hidden in the frame before the next few shots reveal that he's smack dabbed in the middle of everything happening on the streets.

"I'm there too."

"Watching." The emphasis on eyes through macro shots is quite the focus in this film. My interpretation of this is the idea that people see what they want, and turn a blind eye to what they don't want to see. I don't think that's much of a deep dive since the story itself is based on that.

"I just started writing it for him because he had such intensity and drive, but also vulnerability in the film, Good Time."

This goons outfit is pretty close to Connie, is it not?

I love how this kids face is painted halfway, opposed to the rest of the gang. This could be by design with how the gang works. You may get your entire face painted once you've been fully initiated, but I also took it as a metaphor for this kid not being ready to commit to a life of crime. He got his self into something he wasn't fully behind and that look is all over his face. I also think he may see batman through the glass, but he isn't sure. 

This shot feels so comic book panel like. That read light being cast over the suit gives off a sense of danger, that speaks to the warning his signal presents.

This bat signal tells you what type of Batman this version is. This isn't some cleanly manufactured light that looks like it took millions of dollars to make. It's a piece of metal shoved in a regular spotlight. This ain't the typical Batman. 

Something so subtle about this, is the signal isn't on top of roof to be easily identifiable of it 's location. The trust isn't there yet. We don't know who the trust issue lies with, but Batman & Gordon is not the relationship we see in the comics, yet. 

The signal in the night sky above the cities buildings  = Classic comic panel brought to life.

A shot ripped right from Good time. More homage to that film.

Again, the lighting and coloring in this film is stupendous. To keep the true black levels in tact and have batman (also dressed in black) reveal himself from that darkness just enough to see him is mind blowing. He IS the shadow.

Love the emphasis put on his feet in this macro shot. There's intention with every step he makes and you can feel/hear that in this one still. 

The "I am Vengeance," shot was one of my favorites until I saw the full sequence. This unhinged stare he gives the goons is so BATMAN. I love it even more that he doesn't even say a word here. That facial expression is all you need to see, to take a guess as to who he's looking at. 

A shot pulled straight from a comic book panel. I've spoken about this shot enough times in other posts about the trailers. Still love it.

This might possibly be my favorite shot in the movie. I love how it's framed under the bridge and the red-ish light helps batman's silhouette pop more. The rain adds an extra layer to the city of Gotham and that view from below makes Batman feel larger than life. F***IN LOVE IT.

I'm gonna be honest here... there are gonna be quite a few shots in this post that I love just because of how Batman looks in the frame. I think this is the only Batman solo film to capture so much iconography of the character. Almost every second he's on screen, is a literal work of art; like this menacing stare. 

Here's an example. This shot is pretty standard in how to frame and block a scene, but because it's Batman, there's a different vibe man. The lamp lights on the right and left light the scene enough to reveal the unsettling look at Batman. He blends in with the shadow, but that rusty orange glow  bounces off his suit to enough to see his figure.  It's so subtle, but fitting. 

The balls on Martinez to try and stop Batman so abruptly lol.  Before this frame hits, Batman walks into the room without a word being said, like they simply tolerate him but at this moment, it's clear what the relationship between him and the police force are. They don't trust him.

Excellent framing to capture all 3 of them in this single shot for the exchange in dialogue.

There's that stare again. The one that scares anyone who comes eye to eye with the Bat. 

Another shot that I love that fits the same description of a shot prior. That orange tint is so beautiful.

The framing of this shot drives your eyes the direction of where to pay the most attention to detail. Batman is dead smack in the middle of the shot revealing his physicality for the first time. You can see his height and width trumps everyone in the room. It's imposing and awkward for a guy in a bat costume to be at a crime scene.

Yet another comic book panel brought to life. That aside, film is subjective and this may be more of a reach on my end, instead of the filmmakers intention. The word, "lies," being behind Batsy feels like it's also a message aimed to him about lying to himself in regards to which side of the law he falls on, hence the Riddler's end monologue. 

This reminds me so much of the victims in the Dark Victory. Instead of the messaging on a piece of paper, its's duck taped around his face. I'm also pretty sure that's a workaround to be less graphic than showing the face of a dead man. 

His boots and stance are identical to the Riddler standing over the mayor as he killed him. I also think this is a wink from Reeves letting us know the location of Riddler's master plan the entire time, as if the carpet tool wasn't enough of an unnoticeable wink in the first place. 

I can't un-see the question mark around Batman's head because of that one poster. If you have no idea what I'm talking about, google it right quick and return to this shot. 

This was one of the first shots we saw in the first batman teaser and I still love it. 

Court of owls for one of the sequels PLEASE. That story is easily one of my favorite Batman comic series. That could test Batman's mind and body. I'd love to see it. 

Ok so honestly, this set of shots are pretty straight forward. There isn't anything I can say that I haven't said earlier in this post but again... I  just love how Batman is captured in all of these. One thing I've always wanted (I sound like a broken record I bet) is a beautifully shot, comic booky looking solo Batman film and within the first 15 minutes of The Batman, my request has been fulfilled. I couldn't "Not include," these in a post about the cinematography, even if there is no deep dive. Sometimes, a gorgeous image, is a gorgeous image. 

Nothing special here but I'm a horror guy so including the jack o' lantern trick or treat bag is an added plus for me. I had to include it just because. 

I love the position change of this shot from the beginning, to the end. The top image is cold with a cooler temperature.  The commissioner is framed from a lower angle, adding to the powerlessness of his position knowing he's just another worker for Falcone. On the flip side, Mayor Real is positioned above everyone, empowered to bring hope and change, accompanied by a warmer tone to back her words of encouragement. 

Even as Bruce Wayne, he still lives in the shadows. 

I dig this POV shot that allows us to ride with Bruce for a little bit of time. I also have to imagine this manipulation of depth of field is how his vision has to be after all these nights of jumping from roof to roof.

We get a great shot of a well lit Gotham, as he rides through, what I assume is the downtown area after Halloween. I like how massively metropolitan this city is, & how it also captures the normalcy of everyday living. You can clearly tell this is a crime ridden, dirty, and grimy place but it isn't so overboard that you'd question why the hell anyone would live here. 

I like how they familiarize us with Bella Real throughout the movie in subtle ways, so she never feels shoehorned in. We see her on the TV earlier, & here again with a campaign sign in front of Gotham Square. 

These shots scream neo noir, and also make the needed B-roll to transition to the next scene, interesting. It was a great call to strap cameras on each vehicle in multiple places because it adds visual flair to each shot, disguising it's purpose.  Often times, these transitional sequences can be pretty boring and offer nothing extra but not the case here. 

Perfect framing to tell the story visually, without needing to say it. We know what this location is and where it's located in a single shot.

As stated before, the emphasis on eyes is apparent throughout the movie. Another queue that I got is it's a small reference to each of the characters in the movie. Everyone wants to be seen in one way or another. Bruce wants to be seen as Batman. Batman wants to be seen as the walking embodiment of fear. You could go down the same line of accusation with every other character. 

Another visual queue that does the story telling on its own without goofy exposition. The film leaves little clues of context to put things together. 

I love that the only pop of color comes from the screens. This could be looked at two ways. One, is this is Bruce's twisted version of wearing "rose color glasses," justifying his violence as a way to help uplift the city . The other is simply a look of "red eyes," to express his tiredness from doing this night to night. 

I really love that Wayne manor is Gothic af. It reminds of the Tim Burton mansion but modernized. 

Grapes for the cool a** looking Bruce Wayne. I really like the shot because he looks so youthful. This is definitely the youngest looking version of the character put on screen. 

Such a cool shot! This is something you'd see in a graphic novel (you're gonna see me say that a lot). This game of cat and mouse is staged perfectly in this film. 

A simple but effectively cool shoot to show the dynamic duo enter the room. There's so much style in a small choice like this that enhances the viewership. I'm not gonna act like this reinvents cinema but I think it's a great way to add a different angle to the mix. A forward facing shot is inevitable, so why not change things up.

And here we are. The inevitable forward facing dope shot. I do like that they chose to shoot this in a wide frame to give the viewer a sense of how large this space is.

 

From one low angle, to the next. Every heavy step has intention because of the point of emphasis. Which to me, is perfect for Batman and something I've never seen in any other film.

Two more shots that aren't unbelievably crafted, but capture Batman looking ultra cool. Reeves and crew managed to do this in almost every single shot of Batman in the movie & I loved that they did. 

Batman painted in the red and yellow in these club scenes makes me believe it's homage to the long Halloween covers. Not to mention, this is the first time we get to see how explosive Batman can be in attack mode. So that color is kind of fitting. 

The penguin in his lair. I love how mafioso they decided to go with this version and made his hang out look the same way. There's a ton of vintage flair on this set if you go digging, that calls back to the Adam West days, as well as mobsters in the 40. I think the marriage of vintage and modern qualities puts this movie in it's own lane completely. 

This suit design is so perfect for this noir world. It's created in a way that makes him look like a literal shadow when he is in light, but the details easily pop because of the different shades of blacks and greys used. 

Every look Pattinson gives in that suit is pure gold. I think he's the only Batman to embody every type of thought that would be thought of if Batman were a real dude. Batfleck has almost everything but what he doesn't have that Pattinson has, is the sheer unsettling awkwardness (Which could also be chalked up to Ben's Bat being a 20 year vet, so he's comfortable with who he is). Pattinson's Bat looks scary but also realistically crazy for someone to do. 

The Riddler staked out in the corner apartment plotting out everything. Also, look how large and grimy Gotham looks. They nailed the atmosphere. 

Really slick transition here. This movie is full of better direction choices than what they could stereotypically be. I've seen films with the exact same type of scene with a character talking on the phone in a vehicle. There will be 3 or 4 different angles switched in and out to keep it "interesting," but here, it's a long take but utilizing the entire frame to spice it up. 

More macro shots on the eyes. LOVE it!

I saw mad jokes about Bruce being a peeping Tom, but to add some reasoning to that; I think the purpose was to mirror the Riddler at the beginning of the movie. Bruce watches her for an identical amount of time that Riddler watched the Mayor before attacking. 

I've loved this shot since it was shown in the trailer. Something small as her body language & positioning as she slides down the rope, adds a dash of elegance to her skillset. She's not some petty thief entering recklessly for quick cash. There's more to gain.

Love this panel brought to life. The yellow tape still up, with the city of Gotham peeking through the window makes for something seen in a Graphic novel. 

The focus, or for better term; A spotlight on the eyes at it again. 

I LOVE this shot. I'm so glad Reeves held this frame for a few seconds to soak in the ears on her ski mask, while also capturing her delicately cracking the safe. This is literally cat burglary.

I always enjoy when the implication can be provided without an explanation.

Such a dope shot. I really like that even the B-Roll shots are treated with a level of care, when it could easily be a throw away shot of both bikes simply riding from a typical angle.

The light bounces off the batsuit gorgeously. This looks like a Graphic Novel cover of a Bat & Cat story these two often have. 

4 fantastic shots that showcase that suit again. Something about that orange light, drastically compliments the design. It could just be my subconscious associating this film with Halloween but it works so well. 

Not a macro shot but the focus on the eye shows it's self again. This time through The Riddler. Also, could you imagine how terrifying this would be to see on the news? Really makes me wonder how the city reacted to Joker when he was loose. 

The character on here definitely looks like Hugo Strange, but also has the word MAD capitalized as if it's referencing the mad hatter. I believe each of these cards is a clue to either, where Reeves wants to take this trilogy/universe or someone Batman has dealt with in the year prior. All of the Riddler's shenanigan's lasted for only a week, so there's really no telling who else has been around.   

The eyes don't lie. 

Man the set design is great here. You get the full scope of the room, all backlit by the lights of Gotham. I also love how much of a tech genius Batman is, he can setup shop anywhere, and makes this crack house the location for his investigation. 

I think making the Iceberg Lounge a central piece location in this movie was genius. As I stated earlier, you get a sense of how regular people would live in such an accurate portrayal of scummy a** Gotham. The club is packed every single time it's entered by a character. Birds of Prey also does a fantastic job of this.

Love the parallel between these two when they enter the VIP. Neither are that enthused about facing Falcone and I feel showing them both framed in a similar format, connects them both. Both of their parents fell at hands of Falcone. Both seek out revenge for what he did. Both are clueless on how to do it.

I love how  Falcone is kept in the shadows initially. He's the hidden boss behind it all, hence being positioned behind Oz in this shot. I also feel like this was where Bruce's jab about hiding, derived from. 

Now Selina's the one Bruce sees through those rose colored glasses. I think this is the real spark of his romance with her. He knows she's been through so much and can understand why she does the thing she does. They're alike. Hmm, the likeness he shares with her, seems similar to someone else...

Speak of the devil. Right up close in personal. This design is so simple, yet so sadistic and twisted. Like, who the f*** would put glasses on the outside of a mask?

I think this is a very important frame that adds to the 3rd act craziness. The water level continues to grow and grow, like its been raining for 40 days and 40 nigh-- Too on the nose? I don't think it is.

I love a good atmospheric POV shot. It feels like the gravity thickens as he travels upwards to a forbidden place.

The endless shadows of Gotham at dawn are captured so well, regardless of what time of day it is. Gordon and Batman's relationship feels like a partnership more than its ever been in any live action Batman film. There's comradery in these stills. 

Storytelling with B-Roll. These few shots are the hint at Bruce being a Greasemonkey. Which pays off when he brings that growling motherf***er out to play.

The details etched into these cufflinks say enough, about the kind of wealth the Wayne family has. 

'They think I'm hiding in the shadows..'

'I am the shadows.'

I love the focused detail created by the blocking of the shot. The calm figure on the left, leads us to all the chaos on the right. The downward angle lets us know who's in charge in the sequence.

Great manipulation of light in this shot. It's quiet the task to realistically light one area in a purely dark space. Notice I said lighting it realistically is a task, because you can do it through other means, like having a light source that make no sense. 

Light really pops off this suit in the best way possible. Even with the a black backdrop, you can see all the detail in his armor. 

It doesn't get more Batman than seeing him in this large gothic setting. 

I haven't quite figured out what character this is referencing. It could be Ivy, since the girl is wearing green, or even Vicky Vale, but I'm not sure. Any ideas as to who you think it is? Leave a comment letting me know. 

Both of these shots remind me of Zero Year when Riddler takes over the jumbotrons filling them with his symbols. This film overall, really reminds me of that story.

The windows to your soul.

This adds a whole new context to a shot being blocked off. I love that it looks like a frame within a frame as Gordon and Batman talk. The cops formation leading our eyes straight towards the focal point.

There goes that shallow depth of field I enjoy so much. It works so well here, giving us a close look at his grappling gun mechanism. 

Both of these shots feel like something torn from a Superman film, something I really didn't expect to see. The Dark Knight has a similar scene with base jumping, but the POV here makes it feel vastly different. The choice of including a frontal shot and taking us with Batman as he glides, maintains the same intensity when the view shifts to wide range.

Such a cool shot! A close-up being lit by his signal is cover worthy.

Those LED screens work so much magic with how the film can be lit. 

I'd imagine this is exactly how the Riddler got the drop on the Mayor. I love this constant connection presented between the two with visual queues. Riddler's whole MO can be seen throughout the film if you look for it. 

Even getting shot, Batman manages to look cool lol.

I mean... What can I say about these shots of the Batmobile that hasn't been said? This is easily my favorite live-action iteration ever. It's simple enough to blend in for investigation, but hard enough to strike fear when necessary. 

I love this shot of Selina. She means business and you can see it in her ey-- Is there some sort of theme here? Anyway, I wonder how they lit that specific part of her face? That's an awesome detail to have included.

THOSE EYES, FROM ONE BEAST TO ANOTHER. Best Batman car chase put on a film, no debating.

With all this high speed intensity happening, Reeves still found a way to fit in a macro shot of the characters eyes. I've made my theories about the eyes but outside of that, one thing these shots do, is make the experience a lot more intimate with the characters.

To capture so many great shots of the Batmobile, they must've had a ton of cameras running at once. I literally had to narrow down the shots of the car to the best, BEST ones because damn near every shot looked great.

Like a Bat outta Hell. This image of the Batmobile is forever ingrained in history. 

The framing of this shot is incredible. The camera placement on the car is at the most perfect spot possible, to capture the aftermarth of the crash. The shot is held in a way to marvel at what was done from Batman's perspective, and the team that crafted the sequence.

Those heavy steps bring more weight than they have in this shot, more than any other moment in the movie.

WHAT AN ICONIC SHOT. Easily the best shot of the movie. 

I love this stare he gives the penguin. As I said earlier, the eyes are windows to the soul and Batman is looking directly into Oswalt's being. 

This is so noir. The line drawn between them with the headlight, sets the stage for investigation. I don't think we've ever seen batman & Gordon work so close as a unit together. 

This single frame feels like something snatched from the Matrix. I love it.

Gorgeous blocking to help build this incredibly creepy atmosphere. Having Batman & Gordon on each side, and the audiences POV in the middle, makes us feel like we're right there with them.

🔥 Shot! Amazing lighting to capture such an eerie frame. The darkness completely covers the bodies holding the flashlights, making it look like a set of eyes finding the clue.

Bruce's silhouette being captured with the image of his father is a nice touch to link the idea of being face to face with his past.

The modern take on that 60s Bat-Phone. Instead of drenching the phone in bright red, they keep it subtle with red blinker for an incoming call.

Batman: DAMNED. 

I love the look of fearful suspicion and rage in his face here. He's young Bruce again in this moment.

This isn't just glass window, its a mirror. This is the first moment he reflects on everything to realize he's failed.

And also realizes, Alfred is all he has left of his family.

The writing's on the... floor. Another link between himself & the Riddler. They think alike. They plan alike. It was all in front of us in such subtle ways.

Another phenomenal shot that feels like something ripped from a panel. Without anything said or stated, we know who this is and where this is.

His eyes look a little glassy, or is it just me....

I've said all I can about these shots in the film but I have to include them. Every single frame in this location is a work of art. 

One thing I really love about this film is we don't really see him with the suit on without the mask. Pretty poetic that this moment happens when the "truth," (in quotations because it's not the full truth) about the Wayne's past is unmasked.

"Paid them hush money to cover it uppppppppp." I love how sadistic and ruthless The Riddler is with the delivery of his messages. They hit just as hard as the murders. 

Another shot that reminds me of Zero Year. 

Outside of the typical Rule of thirds, there's nothing really special about these shots but the set design is what cranks the frames up a notch. Rusty orange city light for the win.

Another shot that isn't out of the ordinary but this is such a meaningful moment for Bruce, on his road to self discovery. For the first time in a while, he takes a walk into his parents room. Literally removing the chains that have kept him down.

To get through trauma, you have to accept it. Thats a two way street for the both of them and that's what this hand shake means. For the first time in the film, Bruce & Alfred embrace in a loving way, after admitting to their fears.

"The CALL."

I like that Batman is in front of Gordon, kind of playing the protector in the situation. They both know something is up and this subtle positioning to protect, speaks to the change Batman just went through with Aflred. 

The reminder that Catwoman is not Batman. She's still lost. Love how the city looks as her backdrop as well.

Yet again, they SNAP with this LED screens. The manipulation to the image you can do with these things are incredible. They crafted visible silhouettes in night time shots. That's dope.

C'mon. Batman running down the side of building? Yeah, I love it.

The set design makes this frame what it is. The detail in the architecture and decor is lush and expensive looking. What else is better suited for a crime boss.

This shot is so cool. It feels like something pulled from "A la femme nikita." Selina gets her shine in this entire sequence. She is not to be played with and she can handle herself. You can see it all in this shot.

This is such an important frame. This is who Batman is. This is what he stands for. If anyone understands her rage most, it's him and she can feel that connection. Selina is a, "I do whatever I want," type of person so it says a lot for her to listen to Bats.

The Untouchable Falcone, smiling even being in the hands of the Bat. You get a sense of who's in control and sure as hell isn't Batman.

I think this was definitely a moment for Gotham to see Batman assist with taking down the biggest mobster in their city. Before now, he was a rumor. Here, he's left the shadows.

Seeing the death of his father's killer, leaves him in an odd place and you can see that written on his face. That rhymed, they don't call me the rapnerd for nothing.

"Bring the rat into the light." 

"You never come passed the seaboard. Scared someone will take a shot at you?"

Gorgeous shots of Batman that just look cool. I can't help that I gush over s*** like this.

I've spoken about these shots in depth for the trailer last year, so not much else I can say but I had to include them.

He went from being distrustful and chased out of the building by police, to standing on the crime scene with them. Talk about progess.

Face to face. Crazy how I thought this was a sinister smile but it's actually joyous. He's really happy to see his 'partner in crime.'

CLASSIC. 

Love this close up. Pretty clever to have the last clue test his own fear of what he represents. Man meets bat. 

Any guess as to who the person on this card represents?

Feels like something that could be pulled from Se7en. This wall of information puts us in the meticulous mind of Edward. We can see every moment, every twist, and every turn etched on this wall, in this room. 

Batman looks so cool amongst the crime scene. I love how his cape is inspired by the Gotham gaslight story & its made to look like a trench coat. You know, like a detective trench coat.

So odd to see this smirk, after committing all the atrocities he's been arrested for. I like the color contrast to make his prison gear pop as well. 

Batman's return to the shadows because he's in the dark with what the Riddler's aware of,  and how far that knowledge extends. You can sense that Batman is timid and hiding in these shots because of this.

Nothing too special but damn! These are pure Batman photos. He looks perfect in this cowl and suit. I see what Reeves meant by using Pattinson's eyes to his advantage. 

Like earlier when Bruce was looking at Alfred, here's another moment of realization that they are 2 sides of the same coin. The glass between them is a mirror. You can see that epiphany on Batman's face.

I love the close up of his emblem. This shot is the perfect setup for ultimate sacrifice he makes later in the film. 

Yet again, another link to Riddler. The framing of this shot is almost identical to the beginning of the film when Riddler killed the Mayor. 

The most insane response to mass murder possible. This shot reveals Edward's true crazy in this close up. Not only is his joyous excitement clearly shown, but seeing the reflection of the explosions in his glasses are a nice addition to convey his psychotic nature. 

Riddler (I know it's not him, it's his minions but still) holding an assault rifle is CRAZY. That aside, this image is realistically horrifying. This is a terrorist attack (I'm glad it was labeled as such) that isn't too far off from events that have happened before.

The Bat silhouette as he drops to the ground, is peak Batman energy. We've seen this shot in almost every trailer but it hits different within context of the movie.

The manipulated depth of field really puts us in Batman shoes. I'd imagine this is how his vision would look after receiving that shotgun blast to the chest. 

Another mirror image of how Batman reacted to Penguin when he interrupted his assault on the goons in the club. Gordon even has the same response as Oswalt.

I love this frame. This is a visual representation of cutting his old ties of being nothing more than fear & vengeance; to become something more. This is the first time he's thinking of more than just himself. 

Out from the water, he's a new man. Baptized from the great flood of Gotham, on Judgement day. As Riddler said, "the signs were all there."

"And he lifted his hand.."

"And parted the red sea, leading his people to the other side."

The Rise of the Penguin. 

Wednesday, November 6th, the sabbath day after the world had been created and in this case, recreated after the great flood put in place by The Riddler.

The most hopeful and inspiring shots (this and the one prior) of Batman ever put on screen. In every film, his heroics come from him getting the job done and that inspires people. Here, he's actively helping clean up the scene, getting people to safety, and even best, laying a gentle hand on those that need his help. THAT'S BATMAN.

And he gazes at the helicopter the entire time to see it off to safety. He's becoming more than what he set out to do. He's not just fear and vengeance, he's Gotham's savior.

Same framing, same shape as when he spied on the Mayor for his kill but this time, he's on the inside.

"Riddle me this.... The less of them you have, the more one is worth." Really intrigued to see where their relationship leads to in the future. As meticulous as Reeves is in this movie, this scene means something. 

The Bat and the Cat. The most understanding relationship either of them will ever have, but can never be... for now. That description is exactly what I see in this shot, with Gotham looming from behind.

He's spoken for...

Love this shot. The quintessential panel you can find of Batman in any graphic novel. I also love that the bike design is torn directly from Zero Year. 

At the beginning of the film, he had nothing in his rear view window to look back at but Gotham. He finally has someone else to look for now.

Ending the film with a focused close up was such a way to go. The eyes have been the story to the movie this entire time, so it only right to end there. On to the future.

There you have it folks! Lengthy post but I had to go in depth with this one. May call this recency bias but It's easily one of my favorite Comic book movies, which I think can be better described as a graphic novel movie. Did I miss any shots you loved or have a different breakdown for? Let me know in the comments and as usual, thanks for reading! ✌🏽