In a world rife with superheroes who leap from the pages of comic books to the silver screen, few icons soar as high or embody the essence of heroism quite like Superman. Since his debut in 1938, the Man of Steel has transcended his origins as a comic book character to become a symbol of hope, justice, and moral courage.
With a rich history spanning nearly a century, the best Superman movies encapsulate the evolution of our cultural understanding of heroism. Each film offers a unique lens through which we can examine our own struggles and aspirations. Whether it’s the classic charm of Christopher Reeve’s portrayal or the gritty realism brought forth in more recent adaptations, these films have not only entertained but also provoked thought about the expectations we place on our heroes.
With the introduction of James Gunn’s new interpretation of Superman, the classic superhero has again been revivified. whether you’re a lifelong fan or a newcomer to Superman’s adventures, prepare to rediscover the joy, inspiration, and perhaps even a spark of hope that comes with every frame of his cinematic legacy. From the iconic moments that have shaped the superhero genre to the underrated gems that deserve a second look, in this article we’ll highlight the best Superman movies.
1. Superman: The Movie (1978)
“Superman: The Movie” is celebrated for its earnest and hopeful portrayal of the superhero. Richard Donner’s direction imbues the film with a sense of grandeur and genuine emotion, avoiding cynicism. Christopher Reeve’s iconic dual performance as the bumbling, endearing Clark Kent and the noble, awe-inspiring Superman is widely considered definitive and perfectly encapsulates the character’s essence. His ability to convincingly portray both personas, making them distinct yet believable as the same person, is a significant reason for the film’s enduring appeal.
The film’s visual effects, while perhaps dated by today’s CGI standards, were revolutionary for their time, effectively creating the illusion of flight and making Superman’s feats believable. John Williams’ majestic and instantly recognizable score is another pillar of the film’s success, perfectly capturing the sense of heroism, wonder, and romance.
While some elements, particularly Gene Hackman’s somewhat campy portrayal of Lex Luthor and the extended opening sequences on Krypton and Smallville, have drawn minor criticism for pacing or tone shifts, the overall consensus is overwhelmingly positive. The film’s heart, its commitment to the inherent goodness of its hero, and its ability to inspire a sense of childlike wonder have cemented its place as a classic. It remains the standard against which other Superman movies are judged against.
2. Superman II (1980)
“Superman II” is generally well-regarded as an exciting and impactful sequel, offering a significant challenge to Superman that the first film, focused on origins, couldn’t. The introduction of General Zod, Ursa, and Non is a major highlight. Terence Stamp’s portrayal of General Zod is particularly iconic, delivering a memorable and menacing villain whose arrogance and disdain for humanity are palpable. Sarah Douglas and Jack O’Halloran effectively complete the formidable trio.
The film excels in its action sequences, particularly the destruction wrought by the Kryptonians and the climactic battle in Metropolis, which were groundbreaking for their time. These scenes demonstrate the sheer power of these super-beings and the devastation they can inflict, making Superman’s eventual triumph all the more satisfying.
Christopher Reeve continues to embody Superman with effortless charm and heroism, while also delving into the emotional complexities of Clark Kent’s desire for a normal life and his love for Lois. Margot Kidder’s Lois Lane remains feisty and intelligent, and her discovery of Superman’s identity provides a strong emotional core to the first half of the film. It still remains a halcyon point for Superman movies.
3. Superman (2025)
“Superman” (2025) arrives as a breath of fresh air for the superhero genre, largely succeeding in its mission to re-establish the Man of Steel with a vibrant, optimistic tone while still addressing complex modern issues. James Gunn’s distinct directorial voice, known for his character-driven storytelling and quirky humor, is evident throughout, creating a film that feels both classic and distinctly “Gunn-ian.”
David Corenswet delivers a commendable performance as Superman/Clark Kent, capturing the innate goodness and earnestness of the character. His Clark is genuinely endearing and sometimes comically awkward, while his Superman embodies the aspirational ideal without feeling simplistic. Rachel Brosnahan’s Lois Lane is a standout, portraying a sharp, intelligent, and feisty journalist who is very much Superman’s intellectual and emotional equal.
Overall, “Superman” (2025) is being praised for its heart, its commitment to the inherent decency of Superman, and its ability to inspire. It manages to balance large-scale superhero spectacle with intimate character moments, successfully launching a new chapter for DC while striving to offer a much-needed message of hope in a world that often feels overwhelmed by cynicism. While not without major flaws, it’s widely regarded as a strong and promising start to James Gunn’s DC Universe.
4. Superman III (1983)
“Superman III” is widely regarded as a stumble for the franchise. The main criticisms stem from its jarring tonal shifts and its questionable narrative choices.
The most prominent issue is the heavy reliance on Richard Pryor’s comedic talents. While Pryor is a comedic legend, his character, Gus Gorman, and the numerous slapstick sequences feel out of place in a Superman film. The film often devolves into broad comedy, sacrificing the epic scope and genuine heart that defined the first two movies. The opening credit sequence, a lengthy series of Rube Goldberg-esque accidents in Metropolis, is often cited as an early indicator of this tonal misstep.
However, “Superman III” isn’t entirely without merit. Christopher Reeve, despite the script’s shortcomings, delivers a remarkable performance, particularly during the “evil Superman” sequence. The junkyard fight between good and evil Superman is a standout moment, showcasing Reeve’s acting range and providing a glimpse of a darker, more complex Superman that many fans appreciated. The special effects, while still limited by the era, remained impressive for the time.
5. Man of Steel (2013)
“Man of Steel” feels less like a celebration of Superman and more like an exercise in deconstruction, draining the character of what makes him unique and beloved. Snyder’s signature visual style, replete with desaturated colors and slow-motion action, attempts to convey grandeur but often results in a bleak, almost joyless aesthetic that runs counter to many of the Superman movies produced before it.
Henry Cavill, physically perfect for the role, is given little to do beyond looking stoic and conflicted. His Superman rarely smiles, rarely inspires, and frequently appears overwhelmed or even grim. The film’s insistence on portraying him as a tormented outsider, rather than a figure of hope and integration, misses the mark entirely. Jonathan Kent’s “maybe you should have let those kids drown” philosophy is particularly egregious, transforming a character traditionally known for instilling strong moral values into a paranoid figure of fear.
The action, while undeniably large in scale, is also its biggest detriment. The climactic battle between Superman and Zod is a cacophony of CGI destruction that goes on far too long, with buildings crumbling and explosions rocking Metropolis without any real sense of impact or loss for the characters or the audience. Thousands, if not millions, of fictional lives are implied to be lost, yet the film breezes past this devastation with a disturbing nonchalance. This “collateral damage” approach fundamentally clashes with Superman’s duty to protect human life.
Ultimately, “Man of Steel” feels like a Superman movie made for people who don’t like Superman. It’s a film that prioritizes a “realistic” and “dark” veneer over the character’s inherent optimism, compassion, and commitment to saving everyone.
6. Superman Returns (2006)
“Superman Returns” is a prime example of how slavish devotion to the past can hinder a film’s ability to forge its own identity. Bryan Singer’s deep affection for Richard Donner’s films is palpable, almost to a fault. The visual aesthetic, John Williams’ iconic score, and even Brandon Routh’s deliberate channeling of Christopher Reeve, all feel like a loving, yet ultimately suffocating, tribute. The problem is that it never quite becomes its own film. It does not deserve a place in the pantheon of Superman movies.
The narrative is the biggest casualty of this reverence. Lex Luthor’s plan is essentially a rehash of his scheme from the 1978 film, just scaled up. This lack of originality makes the primary conflict feel stale and uninspired. Kevin Spacey’s Lex Luthor, while well-acted, often feels like a pale imitation of Gene Hackman’s more flamboyant portrayal, lacking a unique menace or motivation beyond generic villainy.
Furthermore, the film’s pacing is glacially slow. Despite its considerable runtime, there’s a surprising lack of genuine action or impactful conflict for long stretches. While the plane rescue sequence is undeniably magnificent and remains a highlight, moments like it are few and far between.
Ultimately, “Superman Returns” is a beautiful but hollow shell. It’s a film trapped between being a nostalgic homage and a fresh start, failing to fully commit to either and leaving audiences with a ponderous, emotionally inert, and frustratingly repetitive cinematic experience.
7. Batman v Superman: Dawn of Justice (2016)
“Batman v Superman: Dawn of Justice” is a prime example of a film that is overstuffed, undercooked, and fundamentally misunderstands the core appeals of its iconic characters. The plot is an incoherent mess, juggling too many storylines and character introductions without giving any of them room to breathe. Luthor’s convoluted plan relies on a dizzying series of coincidences and inexplicable actions, making him less of a genius manipulator and more of a cartoonish, twitchy villain. Jesse Eisenberg’s performance as Lex Luthor is particularly grating, a far cry from the formidable, calculating foe fans expected, instead delivering an annoying, high-pitched caricature.
Finally, the climactic battle against Doomsday is an uninspired, CGI-heavy brawl that, much like the ending of “Man of Steel,” revels in city-wide destruction without any emotional resonance or acknowledgment of civilian casualties. Superman’s death, meant to be a momentous event, feels unearned and rushed, occurring far too early in this version of his cinematic journey to have any real impact. Frankly, it’s a mess of a film, definitively one of the worst Superman movies to reach the cinema.