Ranking Every Superman Film (A Completionist's Guide)

1. Superman: The Movie (Theatrical Version)

The original theatrical version of Superman: The Movie is a near-perfect, svelte film—moving at a soaring pace and feeling like a dream. It’s an epic, but it’s not overlong, telling the saga of Clark Kent’s early life and showing his transition into the Man of Steel, while setting the stage for a great sequel and paying off its own story. Somewhere between a classic origin story, and a standalone tale in its own right (which acts as a swift commentary on how the rich exploit the natural world for resources). The only part where this film wobbles is right at the finish line, where Superman reverses time to save Lois. It’s a scene that conflicts with the movie’s main theme (you can’t save everyone), but the off-kilter and cheesy solution pays tribute to the pulpy origins of Superman’s story, while giving him a totally suitable happy ending. Compared to all versions of this film, the theatrical cut continually emerges as my favorite on every rewatch. It’s a strong recommendation, not just for comic book fans—but as a fundamentally important film that changed the landscape forever. After all these years, Superman: The Movie holds up—and it’s arguably STILL the greatest superhero movie ever made. And the first.

2. Superman II: The Richard Donner Cut

The Richard Donner Cut is widely considered superior to the theatrical version—as long as you can forgive the inconsistent wig moment in one particular scene (you’ll know it when you see it). Superman II was a very flawed film upon release, often veering too far into slapstick and failing to deliver on the emotional beats the original film set up. It's remembered fondly, but this superior cut reveals its failings. The Richard Donner cut cleans up virtually all of Superman II's flaws and delivers a fitting sequel that both ups the emotion while delivering a fresh new adventure. The inclusion of Jor-El’s iconic (and heartbreaking) sacrifice pushes this sequel into legendary territory. Imagine cutting Marlon Brando from your movie… especially when his presence in the film is the emotional lynchpin of your whole story! Clark’s desire to cut ties from his alter ego forces him into a desperate situation, and in the end, only the past can bring Superman back and resolve his identity crisis—but it comes at a cost, and Clark loses his relationship with Lois (Spider-Man: No Way Home, we see you). It’s a heartfelt movie with a grand message that builds upon the themes of the original. However, it shares one fundamental flaw with the original film, which can hurt the experience for some. On occasion, I admit I find myself preferring the ending to the theatrically released Superman II.

3. Superman: The Movie – Special Edition

The special edition of the original Superman film is often praised, but it can feel a little overlong. Personally, I find this cut doesn’t deliver anything noticeably new. It just feels like a flabbier version of the original. I mean, it’s Superman: The Movie, so it's still great! And it's worth noting that this is the version Richard Donner preferred, so it's gotta be worth something.

4. Superman: The Movie – EXTENDED CUT

Did I say overlong? The Extended Cut of Superman: The Movie (originally created for its first TV broadcast) is a true epic, its length matching its scale (three hours—that’s nearly 40 minutes longer than the special edition!). It’s a satisfying viewing experience for true Superman obsessives and features some extraordinary scenes that make Donner’s world deeper and more textured (the kind of stuff that NEVER would have made it into the theatrical version). Young Lois Lane, an extended Krypton sequence (that features an attempt on Jor-El’s life) and even more of Otis. Longer, fuller moments will please the die hard… but strangely lingering shots and stretched out scenes will remind the viewer what this edit’s original purpose was—to fill in more time for the advertisements. It’s still a great watch, but only for fans of the original Superman film. It’s slow, it’s rambling, it’s even (gasp) a bit boring, at times. Donner disowned this version, and I can understand why. I can’t recommend it as a first-time experience, but the Blu-ray release of Superman: The Movie – Extended Cut is definitely worth picking up, especially since it features the Special Edition as well. I’ve always been a fan of this cut, though I admit it’s a bit of a completionist’s itch-scratcher—and more than a little bit impenetrable.

5. Batman v Superman: Dawn of Justice – Ultimate Edition

Speaking of impenetrably long movies… Zack Snyder’s moody, rambling epic is not for everyone, but this extended cut is astonishing (if you can forgive its ridiculously long, hopelessly convoluted title). Comparing this film to the theatrical version is an eye-opening experience. Many of the issues with BvS’ original version are cleared up in this three-hour cut: its sudden leaps in logic, its gaps in plot and rushed structure—all resolved. About halfway through Zack Snyder’s three-hour romp you suddenly realize this was the movie Snyder intended to make all along, with Chris Terrio (writer of Argo) delivering smart, textured dialogue that drives a complex narrative. Despite being longer than the theatrical version, this cut feels SHORTER (amazing what good editing can do!). While the theatrical version felt like an odd Batman movie, with Superman as a guest star—this version feels like a true Superman film. Lois and Clark are centered in this version, and their investigations into Lex Luthor’s web of conspiracy reveal the detailed structure (and surprisingly swift momentum) of a movie barely glimpsed at in theatres. Gone is the stop-start-stop-start, choppy pace of the original… this cut FLOWS, with each scene building upon the last, until, by the time you reach the iconic Superman/Batman face off, you hardly notice that you’re (exactly) two hours into the film, with one hour of pure action and chaos to follow. If you hated BvS for its dark tone, shocking violence and over-the-top action, you’ll hate this version even more—but if you disliked it chiefly for its plot failings and rushed narrative, this version might be what you were hoping for. As was the case with Watchmen, BvS is a long, dark, operatic narrative with a reach that (arguably) exceeds its grasp. But personally, this movie gets better the more I rewatch it, and Terrio’s vision of a divided, post-9/11 America—where the media is driven by money and its few heroes are vilified as “aliens”—grows more relevant by the day (sadly). Zack Snyder was given the impossible (and misguided) task of creating a “catch-up” film to Marvel Studios. A lesser director might’ve taken this prompt and created a forgettable, cameo-filled (but fan-pleasing) mess with an unfocused narrative: all sound and fury with little substance. What Snyder delivered instead was a flawed masterpiece in its own right. BvS is a wholly unique film that deconstructs superheroes, only to remind us why they’re relevant after all—and why we need them now, more than ever. We might never see another film like Batman v Superman.

6. Man of Steel

   
   

One of the most controversial films ever made has never been so straightforward. Man of Steel is (more or less) a basic origin for our favorite superhero, modernizing the character while altering some of the more familiar themes of his narrative (no, the movie didn’t “misunderstand” Jonathan Kent’s character, it just used him to make a different point!). While Donner’s (imperfect) thematic core focused on destiny and fate (you can’t save Jonathan, because you can’t save everyone—er, except for when you want to save Lois), this film is about agency and choice (you can save Jonathan, but the cost of your actions must be weighed against the world). Whether you buy this change or not might be what sells you on the film’s message (in the comics, Jonathan Kent originally died in a car accident—so let’s not pretend this core element of Superman’s backstory hasn’t been different in the past!). Man of Steel as a film revealed the shocking stubbornness of some Superman fans, while opening the minds of newcomers to the character. Unlike other entries, it didn’t rely on nostalgia from the 70s. Man of Steel creates its own, fresh nostalgia—and now, over ten years later, many who grew up watching this film in 2013 view it with the same rose-colored lenses as your dad might view the Donner films. Man of Steel’s moody, earthy tone is less cheesy, yet it still has a twinkle in its eye—but the twinkle is EARNED. The swift two-hour runtime of Man of Steel focuses on Clark’s development into that hero we know and love. Zack Snyder emphasizes Clark Kent/Kal-El's status as an immigrant, he begins the story a Superboy and ends it a Superman. “Welcome to the planet,” Lois says, tongue planted firmly in her cheek. Personally, while I can see the issues with this film, I view it as a modern classic: flawed but original. Man of Steel was a strong foundation for better storytelling in future, not unlike Jon Faverau’s Iron Man—a first chapter in a saga that was ultimately squandered by an indecisive, greedy studio.

7. Superman II (Theatrical Version)

Speaking of Warner Bros squandering potential… Superman II is not as good as you remember. Especially with the hindsight that the Richard Donner cut brings. It takes too many abrupt left turns into cheap comedy, which dates it far more than the original. Its slapdash reshoots dumb down the narrative and leave Lois’ character worse for wear. Nonetheless, there’s still plenty of diamonds in the ruff, and enough of Donner’s intent shines through that the viewing experience is a fun one (and even deeply emotional, at times). All the strengths are still there, if weakened and diluted. However, Superman II is best viewed with your nostalgia goggles planted firmly on.

8. Superman III

Superman III is not as bad as you remember. But it isn’t particularly good. It brings back some charming elements from the original film, while staying quite well-rooted in the tone and themes you might expect. But it veers so deeply into the slapstick that it makes Superman II’s worst moments look like high art, and its narrative and villain are forgettable. Christopher Reeve gives his all and he’s ultimately what redeems the film, but it’s a rocky experience to say the least. Its worst crime is it fails to do anything new, and it often feels like a tired rehash of the first two films, endlessly repeating “remember this?” to a bored audience.

9. Superman Returns

Superman III’s greatest crime is this film’s only strength, and that grows sadder and truer upon repeat viewings. Superman Returns fails to do anything new, and it doesn’t help that the movie is (famously) poorly edited, with scenes dragging on and the entire film travelling at a snail’s pace. Even the action feels slow ... as weighted as Superman’s heavy, plastic-looking cape. Despite his acting chops, a very young Brandon Routh never quite finds his footing in this pseudo-reboot (which is more interested in being a sequel than a reboot). The weirdly young cast screams “sequel plans” (Lois Lane is played by a 23-year-old Kate Bosworth… yet she has a five-year-old child—creepy!). Despite its purpose in jumpstarting a new franchise, the movie doesn’t seem interested in grabbing the audience’s attention or drawing us in to a new narrative. It assumes its importance, based purely upon nostalgia. It moves with an unearned confidence that screams “remember this?” Yes… we remember. We remember it being done better.

10. Batman v Superman: Dawn of Justice

Sometimes the critics are, in fact, right. But they’re not always self-aware enough to understand WHY they’re right, and the theatrical release of BvS is a good example of how this can happen. The movie is a mess. Not because of its strong, tonal swing into darkness, but because of its editing. It fails to commit to any of its own choices, with abrupt cuts creating a choppy, shoddy experience, and leaving behind a thin narrative. BvS is so eager to race to the action, it doesn’t allow you to enjoy any of the steps or details it takes to get you there. And because of that, you don't buy into any of its strong swings, and decide to give up on anything it tries to sell you. Thankfully, the Ultimate Cut exists, so we can pretend this thing never came out. Oops—except this was the version Warner Bros sold to audiences, and this is what broke all momentum at ever establishing a wider DC universe. Maybe they should’ve let Zack Snyder cook from the start?

Superman IV: The Quest for Peace

I don’t like to bash movies, and I don’t like to join in on hate bandwagons—but if I were to try and focus on this film’s positives, I would only be playing a game of contrarian countering. It’s not good, and at times it’s nearly unwatchable. Even Reeve’s charm can’t save this movie from collapsing into a ridiculous farce that loses all the weight and credibility. The Quest for Peace doesn’t even seem clear on what it wants to be. It seems to be a film made purely for children, but then it dances about heavy themes that it has no interest in weighing with any honesty. Definitely a franchise low.

Honorable mentions

Here I just wanted to list six good films that I couldn’t include in the main ranking, for one reason or another...

1. Zack Snyder’s Justice League

A modern masterpiece—and one of the greatest superhero movies ever made. However, it’s not actually a Superman movie. I mean, it’s technically the conclusion to Snyder’s “Superman trilogy”, and Superman has, arguably, the most important part to play in its vast narrative—but it’s a JUSTICE LEAGUE movie, largely told from the perspective of Batman and Wonder Woman, and Superman is in about ten minutes of its four-hour runtime. So, it would be rather silly if I included this film in the main ranking. The movie has a delightful abundance of treats for fans of the superhero genre, soaring through spellbinding imagery and reveling in its detailed world. It’s a true sequel to Batman v Superman and has all the best elements in that film, its script (again penned by Chris Terrio) is full of depth and mythological grandeur. The twilight hour of Snyder’s saga is the best the DCEU (DC Extended Universe) had to offer, and it makes one wonder how great the DCEU could’ve been, had Warner Bros not shot the franchise in its kneecaps before it started!

2. Superman: Doomsday

I can’t include the animated films in my main ranking, because I have not seen all of them (and there are just so, SO many). However, Superman: Doomsday is a unique film. It’s a dark and epic entry in the franchise and has all the strength afforded to it by its famous creators. Bruce Timm of Batman: The Animated Series brings enormous weight and grandeur to this film, and ironically, he has a more mature take on the character than was (at the time) being afforded to Superman on the big screen. Like Batman v Superman/Justice League, Superman: Doomsday is another loose adaptation of ‘The Death and Return of Superman’ storyline. But that’s the very tip of the iceberg in this tonally dark, multi-layered film about grief and hope.

3. Superman: Unbound

Superman: Unbound is another strong entry in the Superman Animated Originals—and it scratches an itch that all the live action films seem to have missed: the one-two punch that is Brainiac and Supergirl, both brought to life wonderfully in this film. It also adapts a key arc from Geoff Johns run. It’s a strong animated film and one wonders why they didn’t just adapt its screenplay into a live action movie.

4. Superman/Batman: Apocalypse

A Superman/Supergirl story disguised as a Superman/Batman team up—Superman/Batman: Apocalypse combines core elements of the Superman mythos, bringing Darkseid and the planet of Apokolips to the forefront and making for an extraordinary Supergirl origin story. Batman is there… but he’s hardly important. Big Barda leaves a bigger mark on the narrative, and Wonder Woman has a huge part to play too. What keeps me coming back to this film is the extraordinarily well-animated final act. It’s one of the most badass superhero smackdowns I’ve ever seen—the two superpowered cousins fighting alongside each other and letting loose on Darkseid himself. It’s glorious. And speaking of Supergirl...

5. Supergirl

Continuing my trend of praise for the Donner era—there is Supergirl. An oft maligned (but not actually that bad!) early superhero movie, and the first female led superhero film in history. Yes, it has a lot of problems. The plot is thin and weird, and the screenplay was likely written in crayon. But Helen Slater is extraordinary in this role, blending the innocence of a traditional fish-out-of-water narrative with the strong heroism one might expect from Supergirl. Slater’s Supergirl is both vulnerable and strong, hopeful yet tough—she proved for 80s audiences that one can be heroic without being masculine. Helen Slater’s performance embodies many elements that future female leads would later claim THEY did first. The movie is not nearly as bad as people say it is, and if I’m in the mood for cheesy 80s fun, I’d rather put this on than Superman III or IV. Unlike those films, Supergirl doesn’t suffer from clashing tones or inconsistent themes—its light and fun, and it stays that way. Of course, since Superman doesn’t actually appear, I can’t consider it a true Superman film—but it’s still an important film in the franchise’s mythology, and it’s worth checking out, especially since it has a pretty stunning Blu-ray restoration.

6. The Flash

And lastly, we have the oddest honorable mention of them all. While The Flash is (obviously) not a Superman movie, it’s weighted in Superman mythos, with both the Donner era and the Snyder era having a part to play (and there’s even a nod to the Burton era, which never happened). Supergirl plays a prominent role in this movie as well, making her live action debut in the 21^st Century—and marking this as her sole appearance in the DCEU. Sasha Calle's Supergirl is an absolute highlight in this film, her performance is complex and multi-faceted, and she’s actually given a lot to do. General Zod is arguably the main villain, and the movie feels like a weird mixed tribute to every era of the DC Universe. Ultimately, despite all its conflicting and imperfect elements, it’s a pretty solid Flash movie with a strong central narrative. But you’ll have to forgive its effects, which range from creative and unique, to rubbery and distracting. As a fan of the Donner era, the Snyder era, and as a fan of Ben Affleck’s Batman and Michael Keaton’s Batman, I felt more that a little bit... serviced. But fan service isn’t always a bad thing—especially when a movie has a powerful emotional core that holds everything together.

And that’s my big, comprehensive, obsessive ranking, folks! Thanks for reading.