100 Greatest Comic Book Movies Of All Time
64. Men In Black III
While most people will throw their weight behind the first Men In Black movie as the best in the franchise, true film fans will know unequivocally that it's actually the third that is best. It takes the fundamental ideas and charm of the original, adds time travel that doesn't quite mess everything up and introduces great new characters to increase the entertainment factor exponentially.
And this is no mere comedy sci-fi with good effects and solid laughs either: the finale packs in an emotional punch that will genuinely ruin your entire day. This is how you do escalation without compromising the heart and story of a franchise and you need to get on board with it as the true lord of the MIB series.
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63. Man Of Steel
Look, there’s a lot in Man of Steel to poke fun at. Yeah, it’s way too on the nose with its religious symbolism. Yeah, the Pa Kent sacrifice is ultimately pointless. Yeah, Superman snapping the villain’s neck at the end and destroying half the city isn’t very heroic.
But there’s also a lot in Zack Snyder’s film to really enjoy as well. Michael Shannon may have since distanced himself from the role, but his version of General Zod is cranked up to 11 at all times, while the fall of Krypton is grander and more tragic than it’s ever been onscreen.
Also, while it’s easy to hate his flashy directing style, Snyder still knows how to stage an impressive action sequence, and Man of Steel is full of some of this decade’s most blistering superhero punch-ups.
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62. Weird Science
While there are a couple entries on this list that you might not have realised were comic-book adaptations, Weird Science is perhaps the most surprising. In a way though, that’s a testament to just how good it is, as despite the source material, the '80s cult-classic feels like a John Hughes movie through and through.
About two dorks who set out to create the perfect woman through the power of science and get more than they bargained for (cue wacky hijinks), Weird Science is one of the more juvenile, less-refined movies in Hughes’ canon, but it’s still full of the director’s signature charm.
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