Every Superhero Movie Of 2023 So Far, Ranked

It's been a rocky year for superhero movies. Warner Bros. and DC media are currently in the process of rebooting its cinematic and television universe while December 2023 marks the end of the road for the inconsistent experiment that was the DCEU. Disney and the Marvel Cinematic Universe haven't fared much better as delays — related and unrelated to the WGA and SAG-AFTRA strikes — have affected planned Disney+ series and TV shows. Beyond that, after fifteen years of dominance at the box office, it seems superhero fatigue really is starting to set in with once captive audiences. 

Still, 10 films that fit into that genre have debuted in 2023, with several more set to premiere between now and the new year. Quantity doesn't equal quality, and admittedly, it's a weaker slate than both the big franchises and the little guys usually put out, at least before the COVID-19 pandemic upended the status quo. 

There's no highly consequential major team-up title like "Justice League" or "Avengers: Endgame." There's no new long-awaited fan-favorite character (or set of characters) on the major studios' release calendars. Most of this year's offerings either met expectations or have sorely disappointed. Nevertheless, there were a few solid additions and genuine surprises in the 2023 lineup, which should provide fans with a sliver of hope for the future. This is how the year's superhero movies stack up.

DC's "Legion of Super-Heroes" is the first of the studio's two animated straight-to-streaming-and-digital releases in 2023 — of which there have been a whopping 51 to date. 

Taking place in the Tomorrowverse, "Legion of Super-Heroes" stars Kara Zor-El, more commonly known as Supergirl, as she travels to the 31st century to enroll in Legion Academy. There she meets other (even more oddball) teenage supers like Bouncing Boy, Phantom Girl, Triplicate Girl, Arms-Fall-Off Boy, and Brainiac 5. Despite the fact that Brainiac 5 comes from a suspicious lineage and is suspected of being a spy, he and Supergirl develop feelings for each other. Together, they take on the criminal element the Dark Circle and protect a reality-altering device called the Miracle Machine. 

"Legion of Super-Heroes" isn't an outright bad movie, as its middling Rotten Tomatoes scores show, but it isn't a particularly ambitious one, either. Its 83 minute runtime is scant, even by animated feature film standards. Its subject matter and cheeky tone play to a narrow audience. Both critic and user reviews describe "Legion of Super-Heroes" as poorly written, cheap, rushed, and basic. Fans have positive things to say about the animation and the centering of Supergirl, although that's not enough to keep this installment of the DC Universe of Animated Original Movies from the bottom of the list. Other films fail harder, but they take more worthwhile swings. 

"Shazam! Fury of the Gods" suffers from the same problems as "Legion of Super-Heroes," but in live-action. It has the misfortune of inevitably being compared to its much better predecessor, 2019's "Shazam!" That film, which plays like 1988's "Big" but with superhero magic, won praise from critics and fans for expertly balancing its snarky humor with heartwarming schmaltz. 

The sequel isn't nearly as charming and its storyline isn't nearly as coherent. This time, Shazam and company have to save the world from the daughters of the Titan Atlas, who've reclaimed a broken wizard's staff and are out to avenge their father's death. That only begins to explain what's really two hours and ten minutes of fetch quests that hardly register and jokes that don't quite work. 

What was endearing about Billy-slash-Shazam and his cohorts is borderline annoying as their non-super real-world counterparts approach adulthood. Worse, "Shazam! Fury of the Gods" feels derivative of more than just the prior "Shazam!" movie. Its wizard's staff looks an awful lot like Gandalf's. Djimon Hounsou's character looks an awful lot like Idris Elba's Heimdall from the "Thor" movies. The rest — gods, Titans, floating chunks of Earth, enchanted apples, and then some — comes off like a roughly sewn quilt of references to the "Percy Jackson" and "Harry Potter" franchises as well as several Disney and MCU titles. 

This second effort is less original, less funny, and a little hard to get through, which is a shame since the first "Shazam!" was a breezy delight. 

One of the more divisive titles on this list, "Batman: The Doom That Came to Gotham" appeals to some (but not all) fans of the comics run upon which it's based. The second of DC's animated streaming releases falls flat for more general audiences, however, with its dark-even-for-Batman "Elseworlds" spin on lore that isn't explained to the uninitiated. 

The film  — which admittedly nails the aesthetic it's going for — opens with a set piece in a starkly drawn Antarctic where Wayne is investigating a matter involving Oswald Cobblepot's operations gone awry. Then we're treated to yet another rendition of a juvenile Bruce Wayne watching his parents get murdered (Martha Wayne's infamous pearl necklace is even here) before the real story begins. 

"Batman: The Doom That Came to Gotham" remixes key Batman characters and plot elements with tropes from the Lovecraftian wing of the horror genre, which is an interesting idea in and of itself. It's a hard-boiled detective story that's also a monster movie, with a doomsday cult, mutants, demons, zombies, particularly gruesome interpretations of some familiar Batman villains, and lots of fire and ice. There's perhaps too much going on, though, and not enough of it is developed well enough, which might be why some viewers tuned out. 

For months before its release, audiences heard wild claims about just how good "The Flash" was. Warner Bros. Discover CEO David Zaslav told attendees of CinemaCon that it was the best superhero movie he'd ever seen. Considering how plagued with problems the production of "The Flash" had been and how much the studio had riding on the movie, eager fans probably should've taken Zaslav's comments with a grain of salt. 

There were reasons to be optimistic. Michael Keaton's return as Bruce Wayne-slash-Batman portended good things, and (despite controversies surrounding their personal life) star Ezra Miller had been well-received in their previous DCEU outings. However, once the general population actually got to see the massively hyped movie, it became clear that any potentially interesting ideas the studio had about a big-screen Barry Allen origin story got lost in this painfully overworked concept, which relies heavily on fan service.

In "The Flash," Barry Allen sets out to save his mother by using his super speed to reset time and change the events that led to her murder. That makes it yet another multi-timeline, multiversal superhero movie in what's becoming an overcrowded subgenre. The plot is watchable, but it doesn't make the most of the premise. Prime Barry crosses paths with another Barry, and both are less charismatic than the character has been before. Keaton's Batman and Sasha Calle's Supergirl are high points, though they might not be in a better movie. 

Between its jarring tone shifts, sloppy CGI, and tasteless or pointless cameos, critically and commercially speaking, "The Flash" finished far short of its high expectations. 

The MCU had two Part Threes on its roster in 2023, the first of which was "Ant-Man and the Wasp: Quantumania." The "Ant-Man" franchise within a franchise — anchored by Paul Rudd's affable and often self-deprecating take on the title character — has been, up until this point, relatively small-scale comic relief. However, the third installment buckled under the weight of the larger story arc of Phases 4 and 5. Suddenly Kang the Conqueror (Jonathan Majors), the supposed successor to Thanos, was the villain that Scott Lang had to contend with. The stakes went up, and the appeal went down. 

Our shrinkable heroes end up back in the Quantum Realm after Cassie's (Kathryn Newton) invention is hacked into by MODOK (Corey Stoll), who turns out to be Kang's right-hand man and the cybernetically-enhanced remains of Scott's old nemesis, Darren Cross. The gang is immediately separated, during which time they encounter the strange locals. Too much of the movie is eaten up by characters looking for each other set against obviously digital backgrounds. 

Kang does prove to be formidable, but what really challenges "Ant-Man and the Wasp: Quantumania" is its lack of signature Ant-Man humor. Without any of Scott's ex-con friends like Michael Peña's Luis and without the ability to craft gags around size — we have no frame of reference for anything in the Quantum Realm — this trilogy capper feels too serious and ungrounded. What we're left with are a few isolated bits that elicit modest laughs, a family drama that's never convincingly tense, and a passable transition to the next installment of the MCU.

"Blue Beetle" isn't exactly a fresh take on genre storytelling. A brilliant, underprivileged kid who becomes a chosen one figure? Check. A super suit with a mind of its own? Check. A B-plot love story? A wise-cracking sidekick? An evil corporation looking to exploit that tech for nefarious purposes, leading to an inevitable final battle between two color-coded but otherwise equally matched variations on a character? Yup, "Blue Beetle" has those, too. 

When recent grad Jaime Reyes (Xolo Maridueña) learns his parents are about to lose their home, he gives up his dream of becoming a lawyer and takes a blue-collar job to help out. An implausible meet-cute with the daughter of a (conveniently missing) CEO leads not only to a potential romance but to a potential career as the new Blue Beetle.

This cinematic introduction to DC Comics' most recent iteration of the superhero is working with a few ingredients that make this extremely watchable movie go down like authentic and substantive comfort food. First, there's Maridueña in the title role — a role that doesn't ask as much of the "Cobra Kai" alum as it could physically, but one that lets his naturally warm and earnest charisma shine through. There's also a well-done representation of Mexican-American family and culture, with references that aim to appeal to that demographic of its audience first and foremost. 

"Blue Beetle" delves into issues of immigration, economic disparity, gentrification, and corrupt corporate governance without ever seeming like it's straining to be topical. It's a shame DC's best film of the year was the one arguably most affected by the death of the DCEU and the strikes.

DC and Marvel aren't the only games in town taking tales of extraordinary humans from the page to the screen. They aren't even the only studios making movies about bug people. For a more fully realized insect-based superhero film, audiences should give "Shin Kamen Rider" a try. 

Those audiences will probably notice a resemblance between the main character, Takeshi Hongo (Sosuke Ikematsu), and Scott Lang... at least when they have their big-eyed, red and black helmets on. That's where the similarities stop. "Shin Kamen Rider" — the latest in a Japanese franchise that dates back to the 1970s — is action-packed but contemplative with a punky, retrofuturistic vibe that's unlike anything the DCEU or MCU has done before. 

In "Shin Kamen Rider," an organization with a fantastically dystopian acronym for a name, Sustainable Happiness Organization with Computational Knowledge Embedded Remodeling — SHOCKER — is turning unwilling subjects into augmented and brainwashed animal-human hybrids (or Augs). Hongo is transformed into Grasshopper Aug, but he's saved by a rogue former SHOCKER member before the process is complete and retains his autonomy. This makes him the perfect candidate to take down the organization from within. 

Like "Blue Beetle," "Shin Kamen Rider" weaves some deep and currently relevant themes — about misplaced faith in artificial intelligence and the nature of happiness — into its otherwise adrenaline-fueled narrative. 

Most critics and audiences agree — the most recent "Teenage Mutant Ninja Turtles" film is the best of the bunch. It's not often that a franchise peaks more than three decades after it hits the scene, but "Teenage Mutant Ninja Turtles: Mutant Mayhem" has some incredible talent behind it that elevated the subject matter beyond what its target audience was probably expecting. 

The animation perfectly captures the frenetic feeling of being a teenager with too much energy. Adding to this is a soundtrack made up of turn-of-the-century rap hits like "No Diggity" and original music by Trent Reznor and Atticus Ross. The script, co-written by Seth Rogen and frequent collaborator Evan Goldberg, is in good hands with director Jeff Rowe, whose previous film, "The Mitchells vs. the Machines," played around in a similarly creative sandbox. A stacked voice cast featuring Ayo Edebiri, Maya Rudolph, Paul Rudd, John Cena, Giancarlo Esposito, and Jackie Chan (with cameos from Post Malone and Ice Cube) enhances all the artistry we see on screen. 

Again, the plot isn't breaking the mold. In this reboot, the noble young turtles are looking for social acceptance while (you guessed it) an evil tech corporation (the one that turned them into mutants, in fact) looks to take over the world. While "Teenage Mutant Ninja Turtles: Mutant Mayhem" strikes familiar story chords, they ring true for the now middle-aged fans of the original and kids today. 

After a string of MCU entries that left fans wanting (or even angry), audiences went into "Guardians of the Galaxy Vol 3" with some trepidation. The first "Guardians of the Galaxy" movie ranks among the most popular MCU films and remains one of the most influential, especially in terms of humor and in taking the MCU into outer space. The sequel kept pace. Thankfully, the third and presumably final installment in the "Guardians of the Galaxy" saga is strong enough to merit conversation as to whether this wacky but heartfelt trilogy is the franchise's best. 

"Guardians of the Galaxy Vol 3" shifts focus from Peter Quill (Chris Pratt) to Rocket Raccoon (Bradley Cooper), which makes both characters more likable. Though Rocket is unconscious for most of the runtime, a significant portion of the film is told through flashbacks which serve as his origin story. The scenes involving cruelty to animals may be too much for some viewers, even with the knowledge that it's all just pixels. However, everything else about this weird and gooey romp is as crowd-pleasing as can be. 

The relationships between Quill, Rocket, Groot (Vin Diesel), Drax (Dave Bautista), Nebula (Karen Gillan), and Mantis (Pom Klementieff) are as meaningful as they've ever been. The sort-of love triangle between Quill, Nebula, and alternate Gamora (Zoe Saldana) is a refreshing meta-commentary on romantic subplots. The over-the-top, evil-just-because villain, the High Evolutionary (Chukwudi Iwuji), is a welcomed change from speechifying villains who have a point. The message — that perfection isn't a worthwhile goal — is well made, while the MCU's first F-bomb is perfectly deployed. 

While it's certainly fun to see superheroes in live-action, it does make sense that some of the most effective adaptations of comic books would come in the form of animated feature films. 

Perhaps the best example of this is 2018's "Spider-Man: Into the Spider-Verse," which used novel animation techniques and a snappy coming-of-age story in a way that quite literally felt as if it had brought a comic book to life on the big screen as never before. "Spider-Man: Into the Spider-Verse" — which had to compete in a crowded "Spider-Man" movie market, let alone a superhero movie market — was a modest financial hit and a major critical success. The sequel, 2023's "Spider-Man: Across the Spider-Verse," is even more breathtakingly and inventively rendered. It might also be the best multiversal movie to date with the least gimmicky Easter eggs and cameos. 

A slightly older Miles (Shameik Moore) and a slightly older Gwen Stacy (Hailee Steinfeld) are still feeling like loners and pining for each other. Miles is busy battling and figuring out the secret identity of The Spot (Jason Schwartzman), while Gwen has been recruited into a society of Spider-People from across the Spider-Verse. The problem is that Miles isn't invited but crashes the party anyway, throwing into question the very concepts of right and wrong and predetermination versus free will. 

Along the way, audiences are treated to new variants of Spidey including Spider-Punk (Daniel Kaluuya), Spider-Man India (Karan Soni), and Spider-Man 2099, the mysterious Miguel O'Hara (Oscar Isaac). Its somewhat controversial cliffhanger ending shouldn't be so bothersome once "Spider-Man: Beyond the Spider-Verse" hits theaters.