Every Zack Snyder Movie Ranked From Worst To Best
From Dawn of the Dead to Army of the Dead.
Surely no single filmmaker has been discussed more in 2021 than Zack Snyder, per all the #ReleaseTheSnyderCut madness and also the recent release of his tenth feature film to date, Army of the Dead.
Snyder is undeniably one of the most contentious directors working today, audiences virtually split down the middle on his artistic merits.
To some, he's guilty of prefacing style over scripted substance, while to others he's a singular visionary who dares to push blockbuster cinema to bold, operatic places.
Wherever you fall down on Snyder, his filmography is nothing if not fascinatingly diverse.
Though half his output comes from the superhero genre, the other half is a beguiling mix - zombie films, historical epics, animation, and one of the strangest original fantasy films of the last decade.
The quality of Snyder's output has certainly been all over the map, ranging from messy and misguided to impressively ambitious and, in one instance, even oddly restrained.
Though there's little in the way of true consensus on the best and worst of Snyder's works, here's a game attempt to separate the duds from the hits, ranking the director's 10 films from worst to best...
10. Sucker Punch
The true out-and-out dud of Snyder's career, Sucker Punch is a well-cast, visually stunning mess of a film, as the director finds himself completely out of his depth helming an emancipatory feminist fantasy tale...with samurai giants.
As much as Snyder insists the film is a self-aware commentary on the misogyny prevalent in "geek culture," it's only a half-convincing precis at best, given that he takes myriad opportunities to leer at his scantily-clad female ensemble. In slow motion, of course.
The action sequences dazzle, for sure, but the whole is strangely hollow, ensuring Sucker Punch often feels like watching a glossy video game cutscene when you'd rather just play the damn game yourself.
Hardly a disaster - and at "just" 109 minutes, positively restrained for the director - but also the most emblematic evidence that Snyder is indeed a style-over-substance filmmaker as charged.