The Science Fiction Horror and Fantasy Film Review
Any story that has a hero or heroine usually has a villain of some type. There are many memorable examples of these but not all villains are Super-Villains. Super-Villains are regular villains turned up to 15 on the dial.
Super-Villains are not just criminal masterminds but are criminal geniuses. They will frequently run empires of crime, plan world domination plots, harness Advanced Weaponry and secrets of super-science or even are Mad Scientists. They can have Hypnotism and Mind Control abilities and in Superhero Films they almost invariably have superpowers. They will often wear a costume or hide their identity behind a mask and in comic-book are often known by some motif or take a title. They are sometimes disfigured or mutated and driven by a desire for Revenge.
The first Super-Villain was Professor Moriarty in the Sherlock Holmes stories. Pulp fiction was alive with evil masterminds like the Chinese super-villain Fu Manchu or silent cinema’s Dr Mabuse. More exotic super-villains featuring some costuming quirk or facial deformity appeared in the Dick Tracy comic-books and this idea was taken up soon after by the Batman comic-book to memorable effect. The comic-book has taken to the super-villain like no other and created a lengthy line of super-powered villains
Super-villains sporadically appeared in the Serials of the 1930s and 40s and in the superhero tv series of the 1950s, although most of these were just mundane criminals. The first major screen super-villains were the nemeses fought by James Bond in the Spy Films of the 1960s and the colourful pantheon of over-acting guest stars on tv’s Batman (1966-8).
The comic-book super-villain gained strength with the maturation of the superhero film in the 1970s and 80s and have regularly appeared on screen since. By the 2000s and 10s, we had even seen a number of films devoted to the villains alone with The Joker, Cat Woman, Harley Quinn and Venom all getting standalone works. There have even been works about super-villain teams like Suicide Squad, not to mention spoof efforts like the Despicable Me films.
Witty and overlooked parody of the superhero with Alan Arkin as a retired superhero trying to get back into the game. Made before superhero films became big and has a number of charms that were ahead of its time
The second of the films made about the Chinese super-villain Fu Manchu, the first made in sound. This is where the film series started to find itself, turning in some superlative thrills and a wonderful battle of wits between hero and villain. Pulp thrills at their best
The first of five West German-made sequels featuring Fritz Lang’s great criminal mastermind Dr Mabuse, who this time is masterminding a plot to create mind controlled zombies
A bad movie classic. As the title explains, we get a revived mummy pitted against an actor in a ridiculously clunky tin man suit. Third in the Mexican-made Aztec Mummy series, the biggest ripoff is that 3/4 of the film consist of footage recycled from the preceding films
Michael Crichton’s books and films are always run through with a fear of technology run amok. Here Crichton makes an enjoyably straightforward directorial outing about a police squad set up to stop runaway robots,
Sylvester Stallone is surprisingly well cast an aging superhero forced to come out of retirement
Painful Christmas movie where Santa’s daughter takes on an evil miser
Another of the films featuring Santo, the Mexican masked wrestler superhero. In one of the duller entries, Santo here travels to Spain and is pitted against a mad scientist operating an artworks theft operation
An animated film revival of Scooby-Doo, Where Are You? This also makes an misguided attempt to build a shared universe among assorted Hanna-Barbera characters
Toho Films of the 1960s are best known for the Godzilla films and assorted monster bashes. This is one of their non-monster films, part of a spate of mutant supervillain films concerning a villain who has invented a teleportation machine and is using it to exact revenge
A serial adaptation of the popular radio superhero, which gets the look of the character perfect but drops all his mystical powers
The Marvel onslaught continues with this resurrection of a martial artist superhero character from the 1970s. Amid the mostly ho-hum MCU offerings of the 2020s, this becomes an energised action vehicle
Shoddy low-budget Canadian-made attempt to jump aboard the Star Wars fad, this promotes itself as a bogus sequel to the H.G. Wells classic
Adaptation of the superhero comic is played for comedy, making it very different in emphasis to the other films in the DCEU. The boy into man transformation is played up as essentially Big with superpowers – with appealing results
A reboot of the classic Japanese tv series about a superhero who goes into action on a motorcycle using a suit to transform into a grasshopper being
The Asylum made Avengers Grimm as a copycat of The Avengers films, featuring a team-up of fairytale heroines, and so for the release of Suicide Squad they made this sequel featuring a team-up of fairytale villains. Both films are utterly incomprehensible and require you to essentially ignore the originals
Bulldog Drummond was a gentleman adventurer hero popular in books and films of the 1930s/40s. Here he is reincarnated as a playboy spy amid the spate of James Bond inspired spy films of the 1960s, battling a super-villain outfitted with an army of women with robot brains
Another of the DC Universe Original Animated Movies, this devoted to the character of Batman’s son Damian. Solid action, a well moving plot that makes good use of its characters, adding to a decent entry even if it is not up among the best of these animated DC films
Sequel to the hit videogame adaptation, this offers up fairly much the same mix of elements as before – a cutely anthrompomorphic creature and Jim Carrey going to rafter-rattling excess
Third of the Sonic the Hedgehog films and surprisingly far more entertaining than you expect from such a lightweight formulaic film
After a disastrous fan reception of its initial trailer, the film of the videogame arrives on screen. The surprise is that for such a zero expectation film and one that defies the engagement of any of your braincells it is as much fun as it is.
Mel Brooks parodies the Star Wars films. As with most Brooks films, the humour is broad and scattershot but occasionally amusing
Low-budget superhero that co-opts the cod-film noir look from Sin City. Alas the film has an excessively sprawling and complicated plot, while the film noir style looks like no more than cheap pastiche reduced to cliche poses by well-meaning amateurs
The fourth Daniel Craig James Bond film welcomely resurrects one of the great nemeses from the series past – only to fall flat on its face. This is a Bond film severely hampered by a director unattuned to the classical elements of the series and the need to cripple everything by giving Bond backstory and character development
The first big screen incarnation of the Marvel Comics character, the theatrically released pilot for a dreary tv series starring Nicholas Hammond that stripped Spider-Man down to being no more than a superpowered detective in a tv cop show
A huge hit and one of the key influences that created the box-office dominance of Marvel Comics in the 2000s/10s. A fine incarnation of the comic-book, Sam Raimi brings it to life with exhilarating web-slinging scenes but overdoes the winsome innocence of Peter Parker
Sam Raimi and Tobey Maguire get it just right in the second entry in their trilogy of Spider-Man films. The writing team deliver a fantastic Soul of the Superhero script while Raimi delivers some superheroic action sequences that are about as exciting as it is possible to get (*)
Last and by general opinion the least of the Sam Raimi-Tobey Maguire Spider-Man films. With three super-villains present, the plot feels as though it is bursting at the seams juggling the various origin stories and ongoing dramas, although Raimi still delivers some solid superheroic action scenes
The animated Spider-Man: Into the Spider-Verse proved an unexpected success. This sequel builds on that ups the artistic quality of the original to something quite extraordinary
Spider-Man: Homecoming was Sony’s Spider-Man reboot where the elements came together with winning regard and Tom Holland’s politely eager nervousness made for a fantastic Spider-Man. This was the first sequel.
Sony’s reboot of the Spider-Man franchise bursts with a freshness and creative energy. This is also a Spider-Man that has integrated with the MCU with the script kowtowing to Marvel at every point
Sony, the holders of the Spider-Man copyright, squeeze more out of the property with a madcap animated offering that mixes up a host of alternate takes on Spider-Man in what visually resembles an explosion at a pop art exhibition
Sony’s Spider-Man franchise ingeniously competes with Marvel’s shared universe by bringing all their previous incarnations of Spider-Man together
Animated film that has the madcap premise of a top spy (voiced by Will Smith) transformed into a pigeon. A film that comes with such a level of comedic energy that it makes you think all hope is not lost for Blue Sky Studios, the makers of the interminable Ice Age films.
Robert Rodriguez has a huge amount of fun by recasting James Bond antics with kids. The film was a success that spawned several sequels
The third in the series is no longer even a Spy Kids film but a Virtual Reality videogame film. Robert Rodriguez has some fun creating the virtual worlds but the parody that the other films engaged in is missing
A series that reached its maximum level of cuteness two films ago is dragged out for another pointless entry that nobody was asking for. Robert Rodriguez delivers shabby juvenile slapstick
Robert Rodriguez revisits his juvenile spy capers franchise after a twelve year absence. Not perfect but it improves over the last couple of sequels
The tenth of the James Bond films, the third for Roger Moore. This determines to be spectacular in terms of international locales, effects and sets. It was also the point where the Moore Bond films started to become giant cartoon spectacles of the absurd
Second of the Star Trek films, usually regarded as the fan favourite because of its often moving character focus on themes of life, death and aging. Ricardo Montalban makes a grandly theatrical villain and the film gets some great suspense out of space war sequences
J.J. Abrams revives the Star Trek franchise by recasting it with younger faces and rewriting continuity. But in the appeal to a hipper, sexier vibe, it feels a long way from Gene Roddenberry’s creation – nowhere in evidence is the original’s concern with galactic politics and social issues of the day
I had mixed feelings about J.J. Abrams’ reboot of Star Trek This time around the actors seem more at home in the characters and the plot works a good deal better (for the most part), while Abrams creates a hurtling effects spectacle that is the most action-oriented of the Trek films
The last of the films spun off from Star Trek: The Next Generation and a dismal flop that killed the film series off. Tom Hardy as a bad guy Romulan is a cardboard threat while the uninspired plot rehashes The Wrath of Khan
The single most influential science-fiction film of all time, one that created a massive industry of sequels and spinoffs, not to mention copycats, and changed the way that people thought of science-fiction
George Lucas’s return to the Star Wars series after a sixteen year absence and a build-up rivaled only by the Second Coming. Instead most audiences went away disappointed. Lucas has used the interim to push the technology to its heights but the story and characters are lacking
The second of George Lucas’s Stars Wars prequels is no particular improvement. The romance is stiff and awkward, badly written while the effects sequences seem to be running out of new things to do and so just up the scale of what has happened before with so much going on it reaches a point of visual overload
The last of George Lucas’s Star Wars prequel trilogy and the last opportunity for him to get it right, which he generally does. The effects are expert but are not allowed to dominate as much as they did previously and the focus has come back onto the story and Anakin’s transformation into Darth Vader
George Lucas’s first sequel to Star Wars and a work that holds up every bit as well as its predecessor, in many places betters it. The story darkens the mythos and introduces new characters, while the special effects sequences are the peak of the series
A disappointing end to George Lucas’s original Star Wars trilogy. The script lazily wraps up loose ends while sidelining the new characters introduced the last time, and the climax rehashes the climaxes of the two other films
Sequel to Starship Rising, a space opera that does some amazing things with effects on a next-to-no budget
Based on the popular videogame, you cannot complain that this is exactly what you expect – wall-to-wall action, comic-book heroes and villains. The complaint might be that the action is never particularly enervated and the film lacks anything beyond that
Sequel to the 1994 Street Fighter film based on the videogame, this provides the wall-to-wall action that the first film needed but falls down with a wimpily miscast heroine
This team-up of C-list DC super-villains proved a surprise hit. The script is all over the place but Margot Robbie owns the screen as the gleefully insane Kewpie Doll gone wrong Harley Quinn
James Gunn takes over the Suicide Squad franchise and welcomely rescues it from the dud first screen outing
A DC Universe Original Animated Movie given over to Suicide Squad. Clearly inspired by the live-action film, this goes overboard on the super-villains present, having three entire teams running around to general confusion, while striking a very odd tone in its pitch for an R-rating
A Scary Movie-styled parody of the early 00s spate of superhero films, this has a few amsingly on-target spoofs of its targets (especially Spider-Man) but is mostly scattershot
Shot back-to-back with the first Christopher Reeve film, this then became a mess behind the scenes. The end result emerges fairly well with the show dominated by the magnificent Phantom Zones villains and giving depth to the Superman-Lois relationship
The original version of Superman II became mired in problems over the firing of director Richard Donner. After the rediscovery of the original footage, Donner was able to go offer up a restored version. Seeing the storylines the way they were meant to be and Marlon Brando’s original scenes as Jor-el make for a work that is superior in every way
The last of the Christopher Reeve Superman films after the series was taken over by Cannon Films. Usually regarded as the series low point due to the cheapness of the effects, this to its credits abandons the comedy focus of the preceding two films and has some not uninteresting aspects
A 15 chapter serial that marks the very first live-action screen appearance of Superman. The superheroics and effects are painfully primitive today (where Superman flying is represented by animation) but the serial gets many aspects of the comic-book down right
This is where the modern comic-book superhero began on screen. A film that is almost completely successful in banishing campy silliness and taking itself seriously, allowing Superman to fly with magnificent effects. Christopher Reeve shines as the ultimate boy scout
James Gunn’s almost completely successful reboot of the cinematic Superman, the first film perhaps that comes with a total confidence in the comic-book source and where Gunn is not afraid to be goofy
One of the best of the DC Universe Original Animated Movies under the greatly underrated Lauren Montgomery. This serves to introduce Supergirl and Jack Kirby’s Fourth World
An animated film that seems premised on not much more than bringing various obscure DC Comics characters out of mothballs for one giant-sized punch up
Spinoff of the 1990s animated Superman tv series, made as tie in for Bryan Singer’s Superman Returns Some good action, negligible use of the characters unlike the DC Universe Animated Original Movies that began the following year, at best a routine episode of the tv series
A condensed animated adaptation of the top-selling DC comic-book of all time The Death of Superman that comes with some massively exciting animated action set-pieces
A very different take on the Superman story that asks What if Superman had grown up in the Soviet Union rather than in the US and become a paragon of Communist virtue
This has a bad reputation but Bryan Singer does a wonderful job in bringing Superman back to the screen in a version surprisingly reliant on the Christopher Reeve films. The superheroics soar and Kevin Spacey makes for the best screen Lex Luthor ever
Pilot for the excellent Bruce Timm Superman animated tv series of the mid-1990s. This retells the Superman origin story, keeping great faith to the comics, while adding some fantastic action scenes
One of the best among the incredibly underrated animated DC Comics films. A beautifully character-driven venture into the Superman mythos where Brainiac gets a magnificently theatric airing, while Supergirl undergoes some astonishing revisions
A cheap Spanish-made copy of the first Christopher Reeve Superman film
Animated parody of the Tarzan films made with a very adult sense of humour that was banned in several countries as a result
Film spinoff from the animated tv series Teen Titans Go! This hits in with an hilairous barrage of one-liners wickedly spoofing the superhero genre and jokes at DC Comics canon
Here the less-than-serious Teen Titans Go! conduct an Into the Spider-Verse-type crossover with their serious counterparts from the multiverse
The first film featuring DC Comics; Teen Titans, a spinoff from the Teen Titans animated series
The first live-action spinoff of the comic-book and animated series still holds up well two decades later. Little of the manic barrage of pop culture has dated, there are some excellent animatronics that allow the Turtles to engage in a series of high-energy fights and more importantly emerge as distinctive characters
This reboot of the pop culture icons of 80s/90s is an ugly failure on almost every level. The Turtles I remember were hip, funky and bubbled with boyish enthusiasm; these Turtles seem sinister oversized creations, while the film’s adrenalised over-production and emphasis on grit seems to have missed the essential element of fun
The second live-action Turtles film is a disappointment. The Turtles are infectiously enjoyable characters but the script has an indifferent laziness, while parental concerns over violence have mandated that the fight scenes be watered down to an absurd level
The Teenage Mutant Ninja Turtles were the pop culture phenomenon of the 1980s. They have not fared so well in the 2000s but this new animated film written by Seth Rogen is a promising start
Nobody has good things to say about the 2014 reboot of the Turtles. This sequel is stuck with its legacy – giant over-sized Turtles that lacked the cuteness of the originals; bitchy non-acting Megan Fox – but comes out winningly by doing one thing – emulating the spirit of the original cartoon series
The second of Fritz Lang;s films about the criminal mastermind Dr Mabuse, which was banned under the Nazi regime and forced Lang to flee the country. Not quite the equal of its predecessor, Lang is still on fine form and makes an exciting crime melodrama
Third of the German thrillers of the 1960s featuring the criminal mastermind Dr Mabuse, a remake of the 1933 film where Mabuse continues his criminal schemes via mind control despite being confined to an asylum
An eccentrically oddball comedy in which a man discovers that his strange roommate may be a comic-book super-villain. Made independently but with a dry wit that is hard to resist
The film adaptation of Marvel Comics’ The Mighty Thor is placed in the hands of Kenneth Branagh who delivers an okay film, if one where he never quite seems at home with the superheroic action
The fourth of Marvel’s Thor films, where director Taika Waititi gets the balance of humour down much more successfully than he did in the previous film
The third of the MCU’s Thor films. This time Kiwi director Taikia Waititi gives much more of a comedic emphasis where you get the impression the intention has been to push the film in the direction of Guardians of the Galaxy. On the other hand, the superheroics are routine
Sequel to Thor that earranges the same basic elements much more satisfyingly than the first film – the actors (with the exception of a tranquilised Natalie Portman) seem more at home in their roles and a director who is more confident with the effects and superheroics. That said, it is starting to feel like Marvel is shuffling the same plot ingredients around between films
The third film about the title criminal mastermind from Fritz Lang. Here Lang returns to a radically different Germany to the one he fled in the 1930s, the West Germany of the Cold War, to deliver a creepily paranoid work about the surveillance society
Melissa McCarthy, along with Octavia Spencer as her best friend, is a comic screw-up who obtain superpowers
The fourth James Bond film and crippled by the misfortune of coming just after Goldfinger, which defined the formula and became the peak of the series. By contrast, this is stuck with having to make everything bigger and more spectacular
The second of the films spun off from the Gerry Anderson puppet tv series and a much better dramatically sustained film than its predecessor
This live-action film version of the cult Gerry Anderson puppet series is a disaster. Great effort is made to replicate the look of the original but the film is killed by the choice to rewrite everything as a modern formula kid’s movie
The first of the films spun off from Gerry Anderson’s cult puppet tv series. Not a completely successful transition but it is, as always with an Anderson production, worth watching for what the Andersons do best – making amazing models and blowing them up
This offering from the MCU was one of the lowest grossing, but it a good deal more likeable than many other recent entries, emerging as a sort of earthbound Guardians of the Galaxy Lite
Animated revival of the Teenage Mutant Ninja Turtles, which brings them back to the screen with a satisfyingly gritty edge and a series of kinetic action sequences
Pierce Brosnan’s second outing as James Bond holds up fairly well, especially in the action department, although Jonathan Pryce seems miscast as a Rupert Murdoch-modeled super-villain
A strong contender for Worst Film Ever. Rather than create any effects, it has simply uplifted footage from Star Wars, while the score is a mismash taken from popular films of the era. The dialogue is so bizarrely surreal it makes the brain hurt trying to understand it
The third of the fifilms with Christopher Lee as the Chinese super-villain Fu Manchu and generally the point the series started to go downhill
The first sequel to the passable Venom. Next to Batman & Robin, this could be a strong contender for the worst big-budget superhero film ever made
The third of the Venom films, which has become one of the worst of the modern Marvel spinoffs. By this point any pretence that the films are taking themselves seriously has been long forgotten