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Two things quickly become evident when putting together a list of the 100 Best Superhero Movies of All Time. First, this is the Golden Age for such films, a decade where technology, long-unrequited fandom and surging popular awareness have all combined to thrill moviegoers and make billions of dollars. Second, it’s still fair to say that most superhero films are not that good. There’s no real contradiction at play here. The niche just lacks the pedigree of its fellow movie genres. Though superhero comic books may have started to make a dint in popular culture 75 years ago (give or take), technology only crossed over from hindrance to enabling force in the last 20 years or so.
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Driver sopro 617. As a result, while curating a or list requires the exclusion of arguably good films to select the best 100—for superhero movies? The pickings get slim after 40. In fact, the real challenge for this list was choosing amongst the dreck (some of it beloved dreck!) that would fill out the bottom half. It turns out it’s much easier to argue for or against a top 10 film’s exact placement (and frankly, compelling arguments could be made for almost any of our top 5 as deserving the #1 position), than weighing the relative “merits” of Masters of the Universe, Swamp Thing and Elektra. This also means the bottom half of this list will change swiftly compared to, say,. In fact, it’s a safe assumption if there are 15 superhero movies in the next three years, at least 14 of them will knock numbers 86-99 off this list. (Our #100 is a bit of a wild card.) Finally, some criteria.
To be considered for this list, a film must possess at least two of the following three qualities: 1) It must involve costumed shenanigans, 2) It must involve a superpowered protagonist and/or 3) the protagonist must exist in a world where the supernatural/extraordinary is demonstrably present. These criteria are why meta-commentary films like Kick-Ass and Super are not on this list. And it’s also why some films with pulpy characters like Zorro, Tarzan and Conan are not, while others like The Phantom are. (Zane’s costume combined with the Skulls of Touganda do the trick.) Admittedly, the lines gets blurry. Also absent from this list is any consideration of foreign superhero films. That’s not because some are not worthy—especially given the movie quality issue mentioned at the top—it’s just an area we’d rather get better versed in before pouring into this list. Next year, perhaps.
The Fantastic Four (1994) Not appearing on this list: The abortive 2015 Fantastic Four, all copies of which need to be purged off the face of the Earth if our species is ever to be forgiven for its transgressions. Granted, the two Tim Story Fantastic Four films do appear on this list, but I’ll let you in on a secret: If you’re only ever going to watch one Fantastic Four movie (which would be wise), you should really make it this one.
No, the “Corman Fantastic Four” (only produced, not directed by the legendary B-movie maker) doesn’t have much of a budget behind it. And no, the film wasn’t deemed worthy of an actual release, being shelved for decades until it finally leaked online.
But man, this film has heart. It’s a truly sincere take on translating the adventures of Marvel’s First Family into an all-ages superhero movie, and at times it’s significantly more enjoyable and competent than one would expect from a cast of unknowns and a shoestring budget. Do the costumes look good? Not quite, but they do look accurate to the comics more than any of the subsequent films, especially in their portrayal of a grandiosely gesturing Dr.
Doom and the frankly impressive-looking Thing. The special effects, on the other hand, are absolutely horrendous, but in a way that will inspire smiles and laughter rather than disgust. Corman’s Fantastic Four has the simpleminded optimism of a 15-minute Saturday morning cartoon, stretched into a feature film, and its cheerful sincerity is infectious.
Fire it up on YouTube, where it’s been uploaded in full, and you might surprise yourself by hanging in there for a full 90 minutes. Batman (1966) The Adam West Batman film offers the sort of gleeful insanity you need to inflict upon modern comics fans who are unaware of its existence, because once you’ve seen it, you’ll never forget it. With a plot that defies any attempt toward description, it’s the height of camp, featuring incredible performances by Cesar Romero, Frank Gorshin and especially the great Burgess Meredith, as the Joker, Riddler and Penguin respectively, in a team-up to take down the caped crusader and his dopey ward (Burt Ward, that is). The film is just a string of jaw-droppingly silly moments, one right after another—the “shark-repellent bat spray” gives way to Penguin’s bird-shaped submarine, and into the two full minutes of West running around with a giant bomb held over his head, unable to find a place to dispose of it.
There isn’t a more campy or joyful superhero movie on this entire list. But be warned— Batman ’66 is best paired with your booze of choice.
The League of Extraordinary Gentlemen (2004) Some truly bad films merit an extra measure of ridicule for how badly they squander the promise of their source material. Ladies and gentlemen, I bring you The League of Extraordinary Gentlemen. Based on the critically beloved series by and Kevin O’Neill, the film has an intriguing premise (thanks to Moore)—what if the characters of Victorian literature’s most fantastical works were real people? Add an early example of a big studio’s embrace of the steampunk aesthetic, and Stephen Norrington’s film certainly has potential, but it wastes little time slipping into an increasingly incomprehensible plot. By the film’s end, fans of the series got to leave the theater knowing they have just seen a bad film that pretty much guaranteed a good version of the material would not be seen any time soon. It would also be Sean Connery’s final role before retiring from acting.
It feels like that should be held against the movie, too. Masters of the Universe (1987) To at least partially understand the dismal failure that was the live-action film adaptation of the popular toy line/cartoon, it helps to know the history of the schlockhouse film studio,. (By the way, if you’ve never seen the documentary at the link, it’s as fascinating as it is funny. And it’s very funny.) On the surface, it seemed like an unbeatable proposition: Hugely popular sci-fi/sword and sandal IP, perfect casting for the hero and the heavy, and all-star production design and SFX teams.
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So how the hell did this thing manage to open third in the box office, and then quietly disappear altogether after a couple weeks? Put simply, it was a staggeringly huge collection of miscalculated decisions made by producers who clearly didn’t understand the brand, all rushed through production in eight months. “Kids won’t want to see the fantastical world of Eternia.
They’ll want to see He-Man on Earth, beholden to a couple of whiny teenagers!” (Hi, young Courtney Cox!) “What kind of creature could we get that fills the Orko roll, but is cheaper and much more annoying?” “I don’t know. But call Billy Barty’s agent and have costuming get an insulting garden gnome motif going.” “Frank Langella?!
That’s a hell of a good get for Skeletor! But I think people know him best as Dracula, so make sure makeup puts some fangs in there, behind his skull teeth.” “Let’s use as few characters as fans are familiar with as possible that can still technically be identified as Masters of the Universe.” “Dolph Lundgren is the most physically perfect specimen to portray He-Man, but I think we need to give him more lines of dialogue.” “Gentlemen, congratulations.
You’ve just made ” —Scott Wold 91. Judge Dredd (1995) The popular British comic book series satirizing the growing fascist trends during the Thatcher/Reagen years was finally brought across the pond in the form of a big-budget movie. Quite unfortunately, that movie was 1995’s Judge Dredd—a film that could not have been more “’90s Action Movie By Committee™” if it tried.
A horribly miscast slurring out his grim lawman dialog—eliciting more laughter than he is projecting authority—also seemed to have worked into his contract that he didn’t have to wear the iconic helmet in every scene. To fans of the comic, this is heresy; Dredd’s helmet never comes off. Playing the wacky sidekick is Rob Schneider, giving audiences the Full Schneider, which is to say annoying the holy shit out of audiences every time he mugs or utters a panicky, would-be catchphrase (i.e., damn near constantly).
The film deservedly flopped at the box office and with critics—Gene Siskel named it one of the worst films of 1995—and it would take 17 years for the stench to disperse long enough to finally —S.W. Ghost Rider (2007) Ghost Rider is one of those characters tailor-made for a Bill Bixby/Hulk type serial existence.
Cursed by the devil, this spirit of vengeance roams the earth righting wrongs and seeking redemption like Constantine with more flames. Yet, the 2007 film starring as the title spirit actually outperformed many of its peers at the box office (more than doubling its initial $110 million budget).
Besides answering the otherwise perplexing question, “Why did they make a sequel?!” (also profitable, natch), the film provides a storyline decently true to the source material. Not that there are a ton of characters to draw from, compared to other comics, but in featuring Johnny Blaze, Mephistopheles (Peter Fonda!) and Blackheart (Wes Bentley), the film lives up to that primary responsibility, so often forgot, of initial big screen adaptations—it brings the comic book characters to life. (Though, granted, it’s difficult to truly see Johnny Blaze in there with all the Cage everywhere.) —M.B.