The Top Ten Superhero Films

10= The Dark Knight Rises (2012)

Yes, it is messy. Yes, Christopher Nolan’s lengthy conclusion to his three-part Batman saga (at best exciting, at worst dead-serious) is an unwholesome sum of stellar parts. But oh, what stellar parts! That rousing moment when the Caped Crusader makes a dashing comeback in the city streets, when Nolan cleverly borrows a scene from Frank Miller’s ‘The Dark Knight Returns’ to whistle-worthy effect. Or that heart-pounding fist-fight between Batman and Bane in an underground sewer. Or an entire rugby stadium collapsing like a house of cards. Our hero’s heroic rise from the depths in a bid to save the day. The great Bat, aptly named because it comes in black. And that sinfully pleasurable cliffhanger climax that makes us all gasping in delight. Lack it might the scorching intelligence of ‘The Dark Knight’, this is nevertheless still superhero filmmaking made pure art- Wally Pfister’s superb camerawork convincingly transforming New York City into a gritty, grubby Gotham ravaged by destruction while Lee Smith’s taut editing bringing energy to even the slackest moments in the narrative. More to the point, Christian Bale brings a real force of heroism to his Batman. Sure, there are flaws- Tom Hardy’s lumbering Bane is a great performance in search of a better handled character-but there is no denying the weighty narrative depth that Nolan brought to the comic-book hero story with this grand finale.

9= Deadpool (2016)

The latest entry into this list, Tim Miller’s ‘Deadpool’ deserves a premature applause merely for breaking every conceivable boundary of the superhero genre. Then, as if cramming in all sorts of gleefully unpleasant things- a chunk of Scorsese-like invective-loaded dialogue and blood-splattered body count to match-it is also a daringly outrageous film that recklessly smashes every fourth wall possible- its cocky and callous lead hero turning to stare back at us, the joke written over his mock-scary glare. To be honest, the film is not exactly that perfect- a film with such hilarious comic-timing deserves a tighter script as well- but then, that is the point of it all. ‘Deadpool’ revels in the glory of its own unashamed silliness and has a big, raucous laugh over it. The in-jokes at Marvel movies as well as the constantly self-depreciating tone of the tropes are all handled slickly while there is enough gory, pacy action to satisfy the boys. Above all of it, there is Ryan Reynolds in a blistering act of spontaneity and acid as the title anti-hero who has no qualms about killing people down.

8= Batman (1989)

Comparisons- with the other, immeasurably legendary great clash of Batman and Joker- will always be inevitable. But let’s not forget that more than any other recent superhero director, Tim Burton gave the comic book saga his own trademark fantastic streak. The result was a Batman movie completely removed from the gritty realism that Nolan brought- in short, a real comic book come alive in its vivid, psychedelic glory. The Gotham City itself is a marvel of Gothic design, its neon-lights, its looming skyscrapers and ornate pillars and grubby streets all bringing to life the inherent noir essence of the original comics. More interesting is how it coincided with the surge of Moore and Miller’s darker comics of the 80s and the strategic casting- especially of Jack Nicholson as the hilariously nasty Joker- pays off in spades. Michael Keaton himself makes for an understated, smart-tongued Batman, using his comic talents to exceptional effect and Kim Basinger looks delectable as always. Not perfect and not really spectacular in terms of action but always funky and certainly better than what Joel Schumacher did with the character in the 90s.

7= The Avengers (2012)

You could actually hear the collective wistful sigh of a thousand fanboys across the globe when their favourite individual heroes- the people whom Marvel movies had been promoting in solo outings- came together to take on a villain and save the day in style. Ace-writer Joss Whedon’s tall glass of superhero cocktail is not really perfect as critics and fans say- the action comes only in fits and starts and there are only a few real standouts- Mark Ruffalo’s The Hulk in particular- who have their absolute moments in the sun in the lengthy but purely hedonistic city battle in the climax. But more than the concert in the finale, this movie soars in its individual jam sessions themselves. No other superhero movie (excepting number 1, that is) has captured the group dynamic of a team of heroes so successfully and with such smarts. Whedon’s typically witty banter flows smoothly as a crew of stellar actors- Robert Downey JR, Ruffalo and Scarlett Johannson’s Black Widow-get to trade quips even as they kick ass in truly terrific style. The balance of neatly crafted spectacle and nifty sparks within the group lend the entire film a self-assured confidence that most superhero films struggle with. 

6= Superman- The Movie (1978)

If you wish to forget ‘Man of Steel’ (a decent film that goes badly berserk in its overblown climax), you can always wind back to clock to 1978 and watch Richard Donner’s superior origins story about the all-American man in red tights created by Jerry Siegel and Joe Schuster. Classic is written all over this fantastic entertainer that both had the stardom and talent to delight the audiences. Its script was written by Mario Puzo (of ‘The Godfather’ fame), it starred Marlon Brando in a rare performance of a father figure with actual weight as the dignified Jor-El, it also had the dazzling Gene Hackman playing a vicious yet entertainingly aristocratic Lex Luthor and it had Margot Kidder playing Lois Lane like a signature role. While the plot is often predictable and even a tad deprived of the bigger stakes that recent movies vie for, the San Andreas catastrophe and the time loop in the climax are rather nifty and ingenious and result in a series of evergreen Superman moments that still rank as the greatest hits in his mostly patchy cinematic run. And above it all, Christopher Reeve was, is and will always be the quintessential Superman. Enough said.

5= Hellboy (2004)

A suggestion to guys at both DC and Marvel- if you want things to go fantastically unhinged and spectacular with your next offering, shove the director’s chair to Guillermo Del Toro. The Mexican fantasist is one of the most uncompromising storytellers in recent times but while he can make violence and creature horror a real art, he also knows how to have a grand time. 2004’s odd gem ‘Hellboy’ must be one of the most underrated superhero accomplishments of all time. Blame it on the imposing shadows of both the inconsistent DC and the relentless Marvel outings for that. It is rare to see a comic-book movie that keeps all the essential ingredients of the source intact while the director’s vision itself sparkles throughout. Set in an alternate present world, filled with a steam-punk style vibe that mirrors both Indiana Jones and David Lynch and packed with cocky humour and even spectacular action, ‘Hellboy’ also sees Ron Perlman in a performance of a lifetime- a horned freak with both the beer and biceps to qualify as a juggernaut who somehow saves the world in his own brutish, funny way. Free from the pressing needs to be serious and emotional, this is one wild party, filled with the freaky effects and fireworks that only a true visual auteur can provide.

4= Superman II (1980)

The son of Krypton might be an all-around good boy but he had his own share of edges and vulnerability and it was this superior 1980 sequel to the excellent Donner classic that explored these fearlessly even as doing a bang-up job of pleasing the fans. Controversy hounds the behind-the-scenes making of this film- Gene Hackman reluctant to return to the franchise as Lex Luthor, Donner leaving the director’s chair after finishing 40% of the film and the rest left in the hands of Richard Lester, hitherto known only for the amazing Beatles mock-documentary ‘A Hard Day’s Night’. But the end result is one of the neatest and most effortlessly entertaining superhero outings that stresses Supe’s need to be human even as it revels in his superhuman exploits. The well-paced narrative-about the three Kryptonian villains headed by Terrence Stamp’s enjoyably vicious Zod- successfully marries Donner’s sensibility with Lester’s flair for split-second broad comic timing. The snappy dialogue and the firmly blue-collar characterisation further lends a welcome sense of modesty in the film’s scale. However, the fireworks still delight- in particular Superman’s standoff against the three- and the romantic theme with Lois is a welcome addition to the genre. ‘Superman II’ is the right blend of fun and seriousness and pushes for more even while staying endlessly charming. 

3= Guardians Of The Galaxy (2014)

It was not designed to work wonders. Rather than pick out a team of well-known heroes, Marvel made its riskiest bid by taking a nearly-forgotten team of inter-galactic goofs, hiring a new director and with a cast of mostly starlets. Turns out that these goofs were transformed into genuinely rollicking characters, that James Gunn directed this swashbuckling romp with the same imaginative width and breakneck pace as one of the early Star Wars outings and that the actors all stand out for being so dipped in the cool fluid of smart-ass humour. As a part-spoof of the slightly serious ‘The Avengers’, this was a big, sprawling and ambitious comedy that never ever feels the need to be serious, relevant or resonate with us all. It merely and deliciously entertains, doling out snap-cracking humour, fantastically weird other-worlds, weirder characters and a whole lot of little-known elements out of Marvel comics. The action scenes, from dogfights to prison escapes to more, are all beautifully choreographed and sidesplittingly funny. The cast- Chris Pratt, Zoe Saldanha, Bradley Cooper and Dave Bautista along with a great cameo by Josh Brolin- is clearly having a ball with us all.

2= The Dark Knight (2008)

The first movie was too generic to qualify for art; the third one, while satisfyingly epic, tried a tad too hard to be serious. But it was the second film that first accomplished that perfect balance- of frenetic action and psychological intensity, of emotional depth and urban groove. For better or for worse, Christopher Nolan paved the way for the modern superhero film- the benefit being that films got more plot-driven and had better villains, the downer being Zack Snyder. But without all those considerations, this is one hell of a Batman movie- perhaps the definitive word on the Bob Kane-created vigilante in terms of movies and featuring a villain that is truly one for the ages. Surely, Heath Ledger’s fiery, gloriously unhinged and unforgettably iconic Joker is the madly beating heart of this suave thriller. But let’s not forget the white-knuckle suspense, the grounded, flab-free narrative and the lean and mean stunts that enthral as much as its sombre meditations on the nature of paranoia and public panic in face of senseless danger. The acting is splendid all around too- Christian Bale’s stately Batman, Michael Caine’s wise Alfred, Gary Oldman as the diligent Gordon and Aaron Eckhart as a heartbroken Two Face.

1= X-Men- First Class (2011)

It is a wonder how little do we think of superheroes as freaks of nature.

We are so used to revel in their exploits, in the punches they land, the smarts that they play, and the swagger that they carry after certain victory that we never think of them as people who are merely different than others. We always think of them as demigods, messiahs and vigilantes but not as outcasts seeking identity with us all. And it is precise this need for identity that defines so much of Matthew Vaughn’s gorgeously entertaining X-Men outing- a film which not only showcases all the quirks and whimsies that make superheroes stand out as different but celebrates them whole-heartedly in a swinging party that is generously drunk on 60s style and snap and ranks as undoubtedly the finest film about men and women in capes and tights simply because it makes them special in our eyes.

There has also been no other film, before or after it that has seamlessly made the backstory formula so intriguing and refreshing. There are the same tropes of childhood trauma and life-altering events but Vaughn brushes over them lightly, gracefully and slickly, fashioning a Cold War-era premise of nuclear showdown to amp up the stakes all the while masterfully doffing his hat at the pulpy thrillers of yore. Most intriguing is how the film pits two conflicting opinions together against the devious Sebastian Shaw (Kevin Bacon, slithery and charismatic), here embodied by the homoerotic sparks between the sleek Charles Xavier (James McAvoy) and the simmering Erik Lensherr (a spellbinding Michael Fassbender). Vaughn uses these sparks to ratchet up the suspense and spectacle, introducing fabulous new characters all armed with big and little quirks that make them stand out. 

The result is a film so wonderfully unique in its style and its identity-seeking heroes yet so cooly accessible that it gives something for everyone- fast action, an even keel of emotions, nasty villainy and loads, loads of style. In short, a perfect superhero movie.

Take a bow, Matthew. What next, James Bond?