Superman - All Movies Reviewed

Quick Overview

The reviewer harshly critiques most theatrical Superman films, deeming only the 1978 classic and the 1951 short film as accurate or foundational, while finding the Christopher Reeve sequels (especially 3 and 4) and the Snyder films deeply flawed, inconsistent, or boring.

Key Points: The reviewer rates the 1951 short film, Superman and the Molemen, highly for its unexpected focus on social inequality, noting Superman's role was solely to advocate, "Hey guys, maybe we should be nice to people that look different from us." Christopher Reeve's Superman (1978) is hailed as a masterpiece and the blueprint for the superhero blockbuster, praised for its visuals and establishing the origin story pacing formula. The reviewer heavily dislikes Superman II (both cuts), scoring the theatrical version a 6/10 because it is too goofy, and the Donner cut (scored 6/10) as incomplete, criticizing Superman for wiping Lois's memory at the end. Superman III receives a 2/10 rating for devolving into slapstick comedy, featuring Superman splitting his soul and turning into an evil parody after being affected by synthetic kryptonite. The reviewer views Superman IV: The Quest for Peace as the nadir, scoring it 2/10, criticizing its cheap production, boring plot focused on basic rescues, and Superman's selfish, horny behavior, including grooming a woman by using his powers to impress her. Superman Returns is rated 5/10, being technically competent but too long and boring, featuring the disturbing plot point where Superman impregnated Lois, wiped her memory, and abandoned her for five years. The reviewer retroactively raises Man of Steel's rating to 5/10 after watching the Reeve films, concluding that while Zack Snyder's take is too dark and scary, it is at least not boring, unlike the previous five films.

Context: The video presents a comprehensive retrospective review of every theatrical Superman film, starting with the 1951 short Superman and the Molemen and progressing through the Christopher Reeve era, up to the early DC Extended Universe films like Man of Steel. The reviewer establishes a personal baseline for the character, arguing that Superman, at his core, must be the template for superheroes whose primary goal is to prevent harm, contrasting this ideal with the often flawed or inconsistent portrayals in cinema.