TOP 10 COMICS FILMS
Exactly what it says on the tin – my top ten films adapted from comics.
As I observed in my Top 10 Comics, comics are my guilty reading pleasure I have retained from childhood, much like animation in TV or film. And much like animation, whatever the comic, I’ll usually enjoy checking it or its characters out. However, I don’t read that many comics, let alone actively follow them. For most comics, I don’t go beyond checking them or their characters out in brief overview or review to reading them in depth. Usually, my interest is satisfied by the idea of a comic – or ideas in a comic – rather than the comic itself.
In particular, I don’t follow or read any comics from the ruling duopoly of DC and Marvel, although I have an enduring interest in and familiarity with many of their characters – but more in their film or television adaptations, hence this top ten, even if it leans towards entries adapted from comics by other publishers.
Similarly to my Top 10 Animated Films, my Top 10 Comics Films is effectively a subset of my Top 10 Fantasy & SF Films, as (almost) every entry is either fantasy or SF and I will note the extent of each entry as such. As a general rule, animated films lean towards fantasy, while films adapted from comics lean towards SF – consistent with the comics on which they are based. They also tend to be comedic in nature, with both verbal and visual humor – such that they might also effectively be a subset of my Top 10 Comedy Films and again I will note the extent of each entry as comedy.
Cinematic poster art
(10) DEADPOOL & WOLVERINE (2024)
(2016-2024: DEADPOOL 1-3)
Yes – Deadpool and Wolverine wins my wildcard tenth place for best comics film of 2024 but this entry is broader than that, representing the Deadpool film series as a whole, much like my tenth place entry for Dune Part 2 did for the two Dune films in my Top 10 Fantasy & SF Films.
Deadpool was a shot of R-rated adrenaline into the world of comic book films, one of the more wildcard entries for 2016 – and again with its sequel in 2018. The character himself is a wildcard, above all because he knows that he is a fictional character in a comic, or in this case, comic book movie, and engages the audience as such.
The title character, Marvel Comics’ Wade Wilson or Deadpool, is known at the Merc with a Mouth, for his constant wisecracking and breaking the fourth wall, which the scripts of all three films used to good effect. His superhuman ability is his healing factor, although that’s nothing compared to his cinematic resurrection from the mess that was Wolverine: Origins – a mess both generally and also particularly with respect to his character. It’s not easy coming back from a film that notoriously made his character unrecognizable, while being the cinematic equivalent of punching its audience in the head – amongst other things by sewing his trademark mouth shut. Of course, pairing him up with another character with similar superhuman healing factor made for that ability also to be used to good effect in the third film – you know the scene.
And there must be something about the character, or Ryan Reynold’s enthusiasm for playing him, or the writers keeping true to the character, or the direction and production even as the character’s original home Fox was taken over by Disney, but it is one of the few comic film series that remains of consistently good quality.
The first film will perhaps remain my favorite as is generally the case for me with the freshest cinematic incarnation of the character, but the 2018 sequel held up the quality well – and this third film in 2024 tied up the series nicely, although it wouldn’t surprise me if there were further sequels.
FANTASY OR SF
Like the Marvel Cinematic Universe and Marvel Comics in general, it’s borderline between SF and fantasy but mostly leans into SF
COMEDY
And how! It’s pretty much the defining trait of the series and its wisecracking, fourth wall-breaking protagonist.
RATING:
X-TIER (WILD TIER)
*
(9) LOGAN (2017)
(2000-2017: X-MEN / WOLVERINE – I’d count Logan as the fifth X-men film, skipping Last Stand and Apocalypse as well as not counting Dark Phoenix)
O Fox – why couldn’t you have capped off your X-men film series (that is, as your own studio rather than as part of Disney) with this film rather than Dark Phoenix? Or Apocalypse for that matter? It was even apt as a narrative conclusion, further into the grim future in front of the X-men.
Although that does illustrate the difficulty of my usual practice for counting off the films I like within the series in an entry – in this case, the X-men film series and its Wolverine spinoff. Arguably, both should also include the Deadpool films from my previous entry, particulary the third film Deadpool and Wolverine, but they have a sufficiently distinctive quality for their own entry. Essentially, I’d be prepared to count Logan as the fifth film I like in the X-men film series – that is, skipping Last Stand and Apocalypse as well as not counting Dark Phoenix, to go from the first two original films in 2000-2003 and the two ‘prequel’ films in 2011-2014 to finish with Logan. (Okay, okay – I’d also count the Legion TV series but that doesn’t really slot in with the continuity of the film series). As for the Wolverine spinoff films, well, I’d count Logan as the only Wolverine spinoff film.
Based on the X-men comic storyline Old Man Logan, the film is set in a dystopian future United States (rather than the post-apocalyptic future of the storyline in the comics).
Why do I like it so much? Well, it helps that it abandons the ensemble cast of the previous films of the franchise (always a difficult task to balance or juggle) to focus on its two most intriguing characters, fan favorite Wolverine (the titular Logan), played by Hugh Jackman and Charles Xavier (or Professor X), played by Patrick Stewart. As the film opens, Wolverine’s mutant healing factor (which includes longevity) has gone awry and he has aged, as he is being slowly poisoned by the adamantium in his skeleton. Charles Xavier has been even less fortunate – as the film opens with him a fugitive tended to by Wolverine, his former telepathic abilities now turned against himself (and others – to the extent that it has been classified as a weapon of mass destruction) due to neurogenerative disease. It also helps that both Jackman and Stewart are at the top of their game at portraying the depths of their respective characters.
The plot doesn’t always hang together (and is hard to reconcile with the previous X-men film franchise – what has become of the other X-men beyond those that were darkly hinted to have been wiped out by Professor X’s misfiring telepathy?!). It helps that it mixes genre effectively as a neo-Western superhero road movie. The Western elements particularly loom large, with the classic Western film Shane a point of reference on a number of occasions – not to mention the cybernetic Reavers (who, as one of those aforementioned plot points, don’t appear to actually be any good at, ah, reaving).
Above all, it has more heart than any other film in the franchise, even if at times it is a raw and broken one. And I have a particular soft spot for stories of heroes at the end of their days, but who still rise to the call of heroism one last time (or for one last chance of redemption) – or in the context of the Western, one last ride into the sunset.
FANTASY OR SF
Probably the most SF-flavored (or SF-grounded) of the X-men film series. I know the X-men series is meant to be SF, what with its mutants and all, but in much of the series the various mutant powers or abilities feel like outright magic.
COMEDY
With the exception of one other entry, probably the least comedic of my comic films.
RATING:
B-TIER (HIGH TIER)
*
Shot (heh) from the best scene of the Kingsman film series (from the first film – you know the one)
(8) KINGSMAN
(2014-2017: KINGSMAN 1-2. Yeah, I don’t count the 2021 prequel, let alone 2024 spinoff Argyle. I do count that short animated crossover with Archer)
Kingsman: The Secret Service is a playful and subversive parody of spy films in general and James Bond in particular – adapted from a comic by Mark Millar (similarly to another Millar work, Kickass, a playful and subversive parody of superhero film).
The film apparently originated when Millar and director Matthew Vaughn were at a bar discussing how the spy film genre was too serious and they wanted to do a fun one. And oh boy did they deliver on that premise – as Guardian writer Jordan Hoffman quipped, “no one in the production can believe that they’re getting away with such a batsh*t Bond”. It takes all the elements of a Bond film and ramps them up with its tongue firmly in its cheek – Bond on crack.
Of course, there is the eponymous spy agency – stylish (“manners maketh man”) and quintessentially British (named for Arthurian characters), with Colin Firth’s Galahad in a superb action role. However, it is Samuel L. Jackson who steals the spotlight, hamming it up with his lisping, megalomaniac supervillain Valentine – such that he makes Bond villains look positively tame by comparison (although his blade-legged henchwoman Gazelle comes a close second). Valentine’s supervillain scheme is to fix global warming (yay!) by killing most of the world’s population (um – not so yay?) – the mechanism for this is revealed in an awesome frenzied continuous action scene.
Per Rolling Stone magazine – “This slam-bang action movie about British secret agents is deliriously shaken, not stirred … Even when it stops making sense, Kingsman is unstoppable fun”.
The 2017 sequel Kingsman: The Golden Circle enjoyably repeated many of the same beats, extending them also to the Kingsman agency’s cousins in the United States, the Statesman, but didn’t quite match the fun of the first film.
FANTASY OR SF
Leans to the SF side of the genre, as usual for comics films.
COMEDY
Also leans to the more comedic side for comics films, including spy film parody.
RATING:
B-TIER (HIGH TIER)
*
(7) KICKASS
(2010. Yeah – I’m not counting the sequel, even if I don’t think it was as bad as the reviewers did)
“With no power comes no responsibility. Except that’s not true.”
Kick-Ass was a 2010 superhero black comedy, that similarly to Kingsman, was directed by Matthew Vaughn and was based on a comic of the same name by Mark Millar. And just as Kingsman was a playful and subversive parody of spy films (and James Bond in particular), Kickass was a playful and subversive parody of superhero films – “along the way it manages to deconstruct pretty much every superhero trope out there…and then reconstructs (them)”. Also like Kingsman, it had a sequel (in 2013) which didn’t quite live up to the original – but even more so hence I’m not counting it in this entry.
Dave Lizewski is an ordinary high school student, who sets out to become a real-life superhero. His first attempt…doesn’t go well, but the treatment for injury has the fortunate(?) side effect of invulnerability of sorts – slightly that is, with slightly more endurance to pain (due to damaged nerve endings) and his bones reinforced by metal. And having literally embodied Nietzsche’s aphorism that whatever doesn’t kill you makes you stronger (although more often than not, it doesn’t) – Dave sets out even more to embody Nietzsche’s superman, amusingly with a wetsuit as his costume and the imaginative pseudonym of Kick-Ass. However, he’s still not much better, but luckily gets a little help from a more experienced pair of vigilantes, Big Daddy and the awesome Hit Girl – but unluckily gets caught up in their bigger fight against a crime boss.
In the words of Empire magazine reviewer Chris Hewitt, Kickass (and to a lesser extent its sequel) was “a ridiculously entertaining, perfectly paced, ultra-violent cinematic rush that kicks the places other movies struggle to reach”.
FANTASY OR SF
Between the two, I’ll go with SF because of the complete absence of any fantasy or fantastic tropes, but this entry is the least fantasy or SF in my top ten as it is closest to our own reality.
COMEDY
Comedy – particularly superhero parody.
RATING:
B-TIER (HIGH TIER)
*
(6) SCOTT PILGRIM VS THE WORLD
(2010)
Adapting indie comic series Scott Pilgrim by Bryan Lee O’Malley and the first American film directed by Edgar Wright, this film, like its source material, is about the eponymous twenty-something Toronto slacker musician (in floundering garage band Sex Bob-omb) – versus, well not exactly the world, but the League of Evil Exes of the literal girl of his dreams, Ramona Flowers. Although in fairness, it did take the mastermind seventh evil ex some effort to get the League together – “Do you know how long it took to get all the evil ex’s contact information so I can form this stupid league? Like two hours. TWO HOURS!!!”.
Somehow Scott manages to go toe to toe with the League, although each of the exes seems to have mysterious superpowers – except of course for the third ex, Todd Ingram, whose superpowers originate from his veganism. “I partake of neither the meat nor the breast milk nor the ovum of any creature with a face…short answer, being vegan just makes you better than most people”.
The film itself is somewhat style over substance, but when that style is directed by Edgar Wright, who cares? It’s lovingly crafted style parodying comics and video games – complete with combo meters, written sound effects spelled out in mid-air, points and extra lives – while faithfully replicating the original comic (often panel for panel) and intricately inserting the numerological motifs (one to seven) for each ex (and zero for Scott himself). What more can I say? Adorable fangirl Knives Chau? Demon Hipster Chicks? Captain America’s Chris Evans as an evil ex
Sadly, it was a box office bomb – or is that bob-omb? – although critics liked the film’s visual style or humour, and it has since been redeemed as a cult classic.
“Sounds like someone wants to get…funky!”
RATING:
B-TIER (HIGH TIER)
*
(5) THE SUICIDE SQUAD
(2021)
No, not the bad one or Suicide Squad (in 2016), but the good one with the definite article – The Suicide Squad (in 2021). Sadly, this won’t be the only time I have to make that same distinction between the bad one and the good one in an entry in this top ten – indeed, I have to do it for my top entry.
“The Suicide Squad is a 2021 ensemble superhero black comedy film written and directed by James Gunn, based on the DC Comics title ot the same name”.
The good one was presented as a standalone sequel to the bad one, but in many ways it was more a remake, done right this time by a writer and director bringing to the DC table what he had done for a similar ensemble superhero comedy film series for Marvel Comics. And as he did with Marvel’s cosmic setting for the latter, he also playfully brought some elements of DC’s cosmic setting – well, one in particular, with something of Gunn’s recurring alien invasion theme from his film Slither, which he would reuse, along with surprisingly literal project codename, in the spinoff TV series Peacemaker.
“The plot follows a new iteration of Task Force X / The Suicide Squad, a collection of boxed crook supervillains offered a simple deal by high-ranking government official Amanda Waller (Viola Davis): have a bomb temporarily placed in the base of their skull to assure they don’t try to escape and take on an increasingly deadly series of suicide missions in return for having their prison sentence reduced after each success. Their mission today? Survive being dropped onto Corto Maltese, a remote island filled with criminals and soldiers all guarding a massive secret that could spell doom for the entire world”.
Margot Robbie returned as Harley Quinn – although her Harley was one of the best things about the bad one, the good one effectively redeemed the character from that taint and became the character’s best cinematic adaptation, albeit I’d still rank her animated television series as best screen adaptation (which pokes fun at the bad Suicide Squad film).
Also returning were Jai Courtney’s Captain Boomerang and Joel Kinnaman’s Rick Flag among a whole host of new characters, including the one that was to get that television spinoff – John Cena as Peacemaker.
FANTASY OR SF
Definitely leans hard into SF, as both Gunn and comics films tend to do, albeit the softer end of the SF scale characteristic of comics films.
COMEDY
Very much so, of the black comedy variety.
RATING:
A-TIER (TOP TIER)
*
(4) GUARDIANS OF THE GALAXY
(2014-2023: GUARDIANS OF THE GALAXY 1-3)
Marvel Comics got cosmic, baby, with The Guardians of the Galaxy.
And it’s particularly striking that this film works as well as it does – given that it takes an ensemble from Marvel Comics C-list roster into its equally bizarre and eclectic cosmic setting. I tend to stay aware of a wide range of comics (albeit more so outside the DC / Marvel mainstream) and I hadn’t heard of the Guardians (although I was aware of elements of Marvel’s cosmic setting).
How does it work so well?
Well, there’s that cosmic setting with its visual effects.
There’s the funky sixties and seventies soundtrack on its protagonist’s impossibly durable mixtape (and for which he is prepared to risk death)
There’s Chris Pratt’s charismatic and comedic performance as the protagonist Peter Quill or Star-Lord (although the latter doesn’t quite catch on as well as he would like, much to his disappointment) – with such highlights as dancing off the villain.
There’s Zoe Saldana’s Gamora, with my personal favorite highlights including when she proclaims their heroism “we’re just like Kevin Bacon” (from a reference by Quill to Footloose) – and when she dances, ever so slightly, at the end (after rejecting the idea of dancing – prompting Quill’s Footloose reference).
There’s Dave Batista’s incredibly literal-minded Drax the Destroyer. (“Nothing goes over my head – my reflexes are too fast”).
There’s Bradley Cooper’s voiced (and spotlight-stealing) Rocket Racoon.
And then there’s Groot. Just Groot. I love Groot. Vin Diesel-voiced three-worded vocabulary tree-thing Groot. While the rest of the Guardians start off as rogues at best, Groot is the innocent and true hero amongst them – with a heart at big as he is.
And it’s turned into a cosmic comics space operatic franchise with two sequels in 2017 and 2023 – perhaps not as fresh as the first, but more psychedelic
RATING:
A-TIER (TOP TIER)
*
(3) SPIDERMAN: INTO THE SPIDERVERSE
(2018-2023: SPIDERVERSE 1-2. And yes – I’m waiting for the upcoming third film)
Alright, let’s start at the beginning one last time.
One might have expected me to rank Spider-Man into the Spider-Verse in my Top 10 Animated Films, given it deservedly won the Academy Award for Best Animated Feature in 2018, but I regard this computer-animated superhero film as a comic book film first and foremost (although it would absolutely rank in my Top 10 Animated Films). After all, the animation was intended to make the viewer feel like “you walked inside a comic book” – in some of the most stunning animation I’ve seen on screen.
The film also introduced audiences to Miles Morales and the concept of the Spider-Verse, essentially a multiverse of different, ah, Spider-Men (using that term somewhat loosely to include a cartoon pig and an anime schoolgirl). Miles and the other uncanny Spider-Men must save New York City, probably the world and possibly the multiverse itself from the villain Kingpin’s Super-Collider – which has caused different realities – and their Spider-Men – to bleed together, as it were.
The film is best encapsulated by its signature scene, the The Leap of Faith scene with its stunning visuals, fantastic music, great choreography, and the cathartic narrative moment of Miles finally becoming Spider-Man – “The entire movie was literally built around this scene, with the animators being shown a rough version of it to get an idea of what the directors wanted, almost all of which made it into the final version intact”.
In addition to the Academy Award for Best Animated Feature (as well as numerous awards), it won critical praise for its animation, characters, story, voice acting, humor and soundtrack – the critical consensus was “Spider-Man: Into the Spider-Verse matches bold storytelling with striking animation for a purely enjoyable adventure with heart, humor, and plenty of superhero action”. Although my favorite critical statement was that the “the greatest triumph and biggest surprise of the film is that it is an LSD freak-out on par with 2001: A Space Odyssey” (but a lot more exciting than that film).
“This literally cannot get any weirder”
“It CAN get weirder”
And it got even bigger with the sequel film Across the Spiderverse in 2023, which ended on a cliffhanger awaiting the upcoming third film Beyond the Spiderverse in 2027.
FANTASY OR SF
I’m going with the SF genre – the concept of a multiverse tends to be identified with the SF genre and alternative histories or timelines, although there’s nothing stopping it being used for fantasy as well and it often crosses over into it, both in general and in these films.
COMEDY
Well, it wouldn’t be Spiderman without some wisecracking comedy, but it has more serious emotional depth to it than other entries in my top ten.
RATING:
A-TIER (TOP TIER)
*
(2) AVENGERS – INFINITY WAR & ENDGAME
(2018-2019)
“Run from it. Destiny arrives all the same. And now it’s here. Or should I say, I am.”
O boy – was he ever! The words of Thanos, the surprisingly compelling villain protagonist of 2018’s Avengers: Infinity Wars and its 2019 cliffhanger sequel Endgame, might well apply to the film duo itself, which had been building over a decade and nineteen films as the capstone of the Marvel Cinematic Universe to date in narrative and significance
My expectations of it were heightened in that it was adapted from one of the few Marvel comics I’ve actually read (although of necessity it obviously does not adapt the full extent and cosmic scale of the comics) and it met my expectations.
More irresistible galactic force than villain, Thanos is coming for your stones. The Infinity Stones, that is, those six pieces of potentially universe-breaking god-making bling. And he’s a man – or Titan – with a plan to wipe out half of all life in a proverbial snap of the fingers. After all, who hasn’t felt the same way when stuck in traffic or in a queue? The universe just gets too damn crowded at times. But of course to actually do it would be wrong, so it’s up to heroes of earth and galaxy to stop the stones and his plan coming together. (Although it does beg the question of why he was sitting around in his space chair so long).
In the critical consensus of Rotten Tomatoes, “Avengers: Infinity War ably juggles a dizzying array of MCU heroes in the fight against their gravest threat yet, and the result is a thrilling, emotionally resonant blockbuster that (mostly) realizes its gargantuan ambitions.” And in the words of The Hollywood Reporter, the film takes “a cue from the ending of The Empire Strikes Back in its super-sized finale; this is the equivalent of Han Solo frozen in the carbonite, on steroids.”
And I liked Endgame. It didn’t quite stick the landing as expectations were almost impossibly high after that ending in Infinity War but it hit home well enough. Perhaps too well, as my interest in the Marvel Cinematic Universe waned afterwards (as well as arguably its film quality), although some films still pique my curiosity.
Of course, if I have to choose one part of what is essentially a two-part film, I’ll go with the first part or film Infinity War.
FANTASY OR SF?
The Marvel Universe, cinematic and comics, tends towards science fiction, albeit an extremely soft science fiction fantasy kitchen sink version – that is, one in which fantasy tropes are thrown in willy nilly among science fiction so soft as to be fantasy in any event, with sorcerer supreme Doctor Strange as an example of the former and the origin of Spiderman’s powers being bitten by a spider that may as well be magic as an example of the latter.
COMEDY
That trademark Marvel humor is there – hovering on the verge of the cliche it would subsequently become but kept in balance with the dramatic beats, such that you can argue the case that these two films are the most earnestly heartfelt of the Marvel Cinematic Universe.
RATING:
A-TIER (TOP TIER)
*
(1) DREDD
(2012…There’s an ellipsis because you know there should have been a sequel or TV series)
“I am the Law!”
You also knew this was coming.
My first and true love in comics is not one of the ruling duopoly of comics, DC and Marvel Comics, nor strictly speaking a superhero comic (although its main character is arguably as much of a ‘superhero’ as Batman), nor even an American comic (although it is set there, albeit drastically transformed in the twenty-second century).
It is Judge Dredd, the most iconic character from the British weekly SF anthology comic, 2000 AD, ongoing since it was launched in 1977. Unfortunately, American audiences remain somewhat unfamiliar with (or unresponsive to) Judge Dredd, despite his American setting (albeit futuristic) and despite that he is effectively a quintessential American hero in the same vein as Batman – relying on superior discipline, training, experience, equipment and resources, except as a governmental lawman rather than a vigilante billionaire. They even both effectively remain masked in their public identities, as Dredd never removes his helmet.
Even more unfortunately, the most substantial introduction of American audiences to Judge Dredd was the 1995 film, although fortunately that particular horror is fading with time. This Hollywood travesty was particularly inexcusable, because the essence of Judge Dredd is ultimately very simple – Judge Dredd is a futuristic Dirty Harry in a dystopian (and post-apocalyptic) SF satire. How hard is that, Hollywood?! On second thoughts, this simple formula was probably too much for Hollywood to handle – when they couldn’t even have Dredd keep his helmet on throughout the film.
The 2012 film was much more effective in capturing the elements of the original comic (not least in keeping Dredd’s helmet on throughout the film, with Karl Urban playing Dredd by his chin), but not as effective in capturing an audience – in my opinion and that of a few other people who’ve spoken about it, primarily because its own studio sabotaged it, in effect if not intent.
In its own way, this is as unfortunate as the first film, particularly at a time when comic book movies were in such vogue (and dystopian or post-apocalyptic movies have always been popular) – because if ever a comic deserved its own cinematic or screen adaptation, it’s Dredd, especially when you consider the dreck (or drokk – Judge Dredd slang in-joke alert) that does get adaptations. Perhaps a television adaptation would have been better, as it suits the more episodic nature as well as longer arcs of the storyline.
As for the 2012 film, the plot is pared right down – to the classic storyline of Dredd rooting out criminals or perps from a building, which was essentially the same plot as the introduction of the character in his very first episode of the comic, with the added element similar the film’s near contemporary of The Raid with Dredd being trapped within the building and having to fight his way out. However, the film does have a better antagonist than the comic’s first episode, drug queenpin Ma-Ma played by Lena Headey and written for the film rather than adapted from the comic – and a companion for Dredd with Psi-Judge Anderson, rewritten as Dredd’s rookie for the film.
The pared down plot is perhaps the primary reason why the 2012 film captured the essence of the comic much more effectively than the 1995 film with its convoluted storyline unsuccessfully trying to insert too many elements from the comic for its own good.
FANTASY OR SF
Dystopian and post-apocalyptic SF satire, much like the comic itself – but without the fantasy elements that would later pop up in the comic.
COMEDY
Perhaps the only arguable deficiency in the film is the lack of blackly comic satire that characterized the comic – and perhaps also the only arguable edge its predecessor had on it, although the “comic satire” as such of the 1995 film is highly arguable. However, I wouldn’t make that argument. Dredd as Dirty Harry in a dystopian SF satire is still in the film – and as I said the plot is essentially the same as that of the first episode of the comic, reflecting the original more subtle tone of satire rather than comedy in the comic.
RATING: 5 STARS*****
S-TIER (GOD TIER – OR IS THAT DREDD-TIER? JUDGE-TIER? GRUD-TIER?)
*
*
TOP 10 COMICS FILMS (TIER LIST)
S-TIER (GOD TIER)
(1) DREDD
My Old AND New Testament of comics films, because it’s Judge Dredd gruddamnit!
A-TIER (TOP TIER)
(2) AVENGERS – INFINITY WAR & ENDGAME
(3) SPIDERMAN: INTO THE SPIDERVERSE
I’m counting the sequel film as well and waiting for the third in the trilogy.
(4) GUARDIANS OF THE GALAXY
I’m counting the trilogy although the first film is the best
(5) THE SUICIDE SQUAD
The good one in 2021 with the definite article “the” – not the bad one in 2016
B-TIER (HIGH TIER)
(6) SCOTT PILGRIM VS THE WORLD
(7) KICKASS
(8) KINGSMAN
I count the 2017 sequel. I don’t count the 2021 prequel, let alone the 2024 spinoff Argyle. I do count the short animated crossover with Archer.
(9) LOGAN
X-TIER (WILD TIER) – BEST OF 2024
(10) DEADPOOL VS WOLVERINE
I’m counting the Deadpool trilogy.
