Being one of the greatest comic book icons, it makes sense thatSupermanwould spearhead the superhero blockbuster craze. His films ushered in a new age of big-budget comic book films, proving that these costumed crime-fighters can excel outside the realm of camp. It’s an approach so successful that films featuring theMan of Steelcontinue to this day. It’s ironic, then, that most of them aren’t very good.
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Sadly, the opening scenes reflect that. First impressions are important, and Superman’s starting sequences are often emblematic of the rest of the mediocre movies. Most unfold after the credits; some happen during the opening titles. Either way, they give an accurate first foray into the film as a whole, for better or worse.
10Justice League (2017)
ThisDCteam-up flicktries to paint Superman as the relatable hero whom longtime fans know and love, but this intention is diminished by how obvious the reshoots are. The “home movie” format blatantly rips offSpider-Man: Homecoming, a popularMarvelmovie released a few months prior.
This would be suspicious enough, but there’s also the issue of the lip. The filmmakers use CGI to cover Henry Cavill’s mustache since he was makingMission Impossibleat the time. That fake upper lip is on full display, giving the Man of Steel a rubbery smirk that destroys his wholesome image. Even taking these behind-the-scenes problems out of the equation, the scene falls flat.
This Superman has never been the optimistic hero, and it’s awkward seeing this sequence pretend otherwise. It’s not helped by Cavill clearly being uncomfortable with the upbeat side of the character. Like the movie as a whole,it’s an opening that fans would rather forget.
9Zack Snyder’s Justice League (2021)
Zack Snyder’s re-edit of his troubled film isn’t much better. It reintroduces the Man of Steel with a slow-motion recap ofBatman v Superman’s ending battle. Not only does this force people to relivethe chaotic climax of a terrible movie, but it’s painfully indicative of the sluggish pace this four-hour flick will adopt. At its core, though, this opening harbors an issue familiar to theDC Extended Universe.
Namely,it suffers from the same lack of logic as Snyder’s other movies. As Doomsday impales him, Superman lets out a dying scream which echoes across the galaxy. Putting aside the obvious stupidity of sound traveling through space, a pitch this powerful would surely do lasting damage to everyone and everything around. Alas, the filmmakers couldn’t think of any other way to kick off Darkseid’s invasion.
8Batman V Superman: Dawn Of Justice (2016)
This sequence fails on two fronts. First, it shows that Zack Snyder and the company have already lost interest in Superman.Dawn of Justice’s opening is essentially an extended sequence ofBruce Wayne’s parents dying. It’s a clichéd scene that fans have witnessed a million times, but it’s somehow more excruciating here.
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The whole sequence is the epitome of melodrama. Unfolding entirely in slow motion, it’s peppered with theatrical flourishes like sticking the gun under the pearl necklace andThomas Wayne whispering, “Martha,” with his last breath.
Of course, the cherry on top comes when little Bruce falls down the well. A swarm of bats surrounds the kid, letting him literally fly back to the surface. Everything about this reeks of a failed art film. More importantly, it has nothing to do with Superman, one of the two characters in the title.
7Man Of Steel (2013)
To restart Superman’s career on the big screen, it makes sense forMan of Steelto open with his origin on Krypton. Instead of simply establishing Baby Cal-El and sending him off to Earth, however, this sequence also wants to be a space adventure flick.
A lot of silly stuff happens as a result. Superman’s dad flies all over the place, stealing ancient artifacts while a war rages in the background. He thenalters his son’s DNAbefore dying in battle. Meanwhile, General Zod launches a coup before getting arrested like a chump and banished to the Phantom Zone.
Finally, the planet explodes. It’s an absolute mess, and it moves so fast that viewers don’t have time to dwell on any of it. The filmmakers probably hope this hides the rampant plot holes. In short, it doesn’t.
6Superman 3 (1983)
This third entry leans more into humor than its predecessors, even bringing in Richard Pryor to chew the scenery in an offensively unfunny fashion. For better or worse, the credits reflect that shift in tone.
The whole sequence is a “comedy” of errors. Gone are the sweeping orchestral themes and extraterrestrial visuals. Instead, enjoy some casual tunes played over the clumsy city residents. People routinely bump into things or activate some contraption, causing chain reactions of wreckage. What’s more, is that everyone walks it off like it’s a regular occurrence.
This feels less like a Superman movie and more like a poor man’s Charlie Chaplin flick. Some of it is admittedly impressive, as it echoes the same environmental mastery that Robert Zemeckis demonstrates in his films. Sadly, it simply doesn’t fit here and sets an annoying precedent for the rest of the movie.
5Supergirl (1984)
Thisspin-off talemay pale in comparison to what came before, but it actually gives viewers some hope early on. The movie opens in Argo City, where Kara Zor-El lives peacefully among her people. The massive set is rife with detail and atmosphere, and actors like Peter O’Toole sell the world well.
The problem is what they’re trying to sell. The writing suffers from an overload of exposition explaining the goofy MacGuffins. Following this, the plot kicks off because of Kara’s stupidity, which she shows twice in the same scene.This doesn’t exactly fill the audience with confidence.
Oddly enough, that lack of enthusiasm extends to the other characters, who have a rather nonchalant reaction to their impending doom. Rarely does a film destroy such a promising first impression within a single scene.
4Superman Returns (2006)
This ambitious film reintroduces Superman to modern movie-goers, so it’s fitting that the first scene reestablishes his nemesis. It carefully builds a mystery as to who this figure is, and the classical setting and methodical direction create an atmosphere both theatrical and sinister. This is all perfect for Lex Luthor.
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The worst thing you may say about this intro is that it’s too weird. The visuals–coupled with Luthor’s uncomfortable relationship with a dying heiress–are akin to a slow, existential drama. They’re wildly out of place in a Superman movie, especially one trying to emulate the high-flying excitement of the Christopher Reeve era. Perhaps that was intentional. Similar to how Luthor hoodwinks this family, the filmmakers pull a fast one on viewers.
3Superman 4: The Quest For Peace (1987)
Despite being one of the series' worst entries,Superman 4begins with relative promise. A group of Russian astronauts is in trouble, and the Man of Steel flies in and deposits them safely in their vessel. He even bids them farewell in their language.
True, they shouldn’t be able to hear him in space, but it’s the thought that counts. He’s truly a hero to the whole world. Aside from showcasing Christopher Reeve’s characteristic charm, this scene foreshadows the film’s message.
Much of the tale revolves around international cooperation. What better way to start such a story than with Superman saving someone from another country? This positions him as an ideal figure to build bridges between cultures. It’s a shame such thematic subtlety is absent for the rest of the film.
2Superman 2 (1980)
The sequel simply starts with a scene from the first film, but that scene is vital. Once again, viewers witness the trial of General Zod and his cronies. The guilty verdict comes, and the despot promises vengeance and subjugation on Jor-Eland his heirs. This effectively sets the stage for Zod’s clash with Superman. Unlike Luthor’s intro inSuperman Returns, this is a better fit for a Man of Steel tale.
Superman 2is an operatic movie, and this scene definitely matches that. The unsettling emptiness and scope of the set, combined with Terence Stamp’s unhinged intensity, conjure images of Shakespearean drama. It informs the more personal struggle this time, making for a deeper film all around. Just make sure to watch the Richard Donner Cut, as it’s the version that fully lives up to the potential this sequence offers.
1Superman (1978)
This is the one that started it all. The opening scene of 1978’sSupermansends a clear message: superheroes can work on the big screen, and they can resonate just as strongly and dramatically as fans always believed. The prologue on Krypton is a supreme demonstration of the majesty inherent in the Man of Steel’s origin. The ethereal sets, immaculate miniatures, and John Williams’s fantastic score take viewers in.
Afterward, the deeply personal and elegant script keeps them hooked, letting the actors convey the material with grace and precision. Marlon Brando, in particular, lends palpable gravitas to Jor-El as he ponders the future of his son and people. Finally, it all comes together thanks to Richard Donner’s operatic direction.
This sequence infuses the film with reverence from the beginning. This is not a silly serial or campy cartoon. Rather, it’s a larger-than-life tale of biblical proportions, one handled with deftness and love from everyone involved.It easily stands the test of timeas a result, remaining among the finest spectacles the genre has to offer.
