What a weird, well-cast, disastrous and yet not-totally-lacking-in-entertainment run it was for the DC Extended Universe from 2013-23. Though it was also known as the Snyderverse, Zack Snyder’s influence is primarily felt on his own three films (“Man of Steel,” “BvS” and “Zack Snyder’s Justice League”). This is partly because – unlike the singular vision of Kevin Feige on the MCU – Snyder didn’t have total control; his bosses wavered with every box-office report. And it’s partly because a family issue knocked him out of “Justice League,” which is why we have two versions.
Though cursed in logistics, the DCEU was blessed in casting. I have no negative things to say about the members of the Justice League; indeed, I think it’ll be very difficult to find a better Wonder Woman than Gal Gadot, especially in appearance, or a better Harley Quinn than Margot Robbie. Toward the end of its run, the DCEU was already subconsciously preparing for the James Gunn-led DC Universe; indeed, aspects of “The Suicide Squad” carry through the multiverse portal.
So in that sense, it’s not totally dead. But officially it is, so it’s time for me to rank all 16 movies from the DCEU.
(Updated in August 2021 with “Shazam!,” “Birds of Prey,” “Wonder Woman 1984,” “Zack Snyder’s Justice League” and “The Suicide Squad.” Updated in December 2025 with “Black Adam,” “Shazam! Fury of the Gods,” “Blue Beetle,” “The Flash” and “Aquaman and the Lost Kingdom.”)
16. “Blue Beetle” (2023)
The screen debut of one of DC’s oldest heroes (he debuted in 1939!) wants to be a mix of “Spider-Man: Homecoming,” “Shang-Chi” and “Guardians of the Galaxy” but it’s way worse than all of them. Xolo Maridueña is helped into action- and romantic-lead stardom on “Cobra Kai” thanks to that show’s winking tone, but he gets no such help here. The goal of the villains – led by Susan Sarandon, for some reason – is simply to be evil, and in this case it’s flawed writing more so than a commentary on the appeal of evil. Mexican-Americans deserved better than this mess as their major entry into the big-screen superhero game. (Full review)
15. “Batman v Superman: Dawn of Justice” (2016)
Exhibit A in the case that superhero blockbusters tend toward bloat, “BvS’s” extended cut is three hours long and requires about three sittings. No matter the length, it can’t be escaped that Batman (Ben Affleck) and Superman (Henry Cavill) get into a fight over a misunderstanding engineered by Lex Luthor (Jesse Eisenberg) and their conflict is resolved when they realize their mother has the same name. Compare this to the hefty themes of something like “The Dark Knight Returns” and one gets the impressions that these Snyder-directed epics are more interested in grand spectacle than weighty philosophical conflicts. To be fair, the spectacle is pretty good, including the first appearance of Wonder Woman, who gets an awesome theme song reminiscent of Led Zeppelin’s “Immigrant Song.” (Full review)
14. “Man of Steel” (2013)
Nearly as exhausting to watch as “BvS,” Snyder’s “Man of Steel” at least boasts a tighter story, focusing on the origin of Superman. It slightly reinvents the title character as less of a pure savior and more of a being weighed down by his past and future. The movie is so big in scope it almost makes us overlook its frustrating, inexplicable elements, such as Clark’s dad (Kevin Costner) giving his life so the public doesn’t learn about Superman. (Why? The public inevitably is going to learn about Superman anyway, right?) Amy Adams is a controversial choice as Lois Lane, but Adams is good in everything, and surprisingly, not many people rebelled against this Lois immediately recognizing that Clark and Supes are the same person. Throw in Michael Shannon as a deliciously scenery-chewing Zod, and “Man of Steel” is at least an interesting, darker spin on the saga. It’s still exhausting, though. (Full review)
13. “Black Adam” (2022)
Dwayne “The Rock” Johnson and huge amounts of CGI don’t smoothly mix. When it’s just actors in a scene, director Jaume Collet-Serra knows how to get fun banter. But the special effects are bad and distracting; Johnson’s title character (an antihero version of Shazam) does not seem like the same person when flying around. The plot’s conflict is frustrating, too, as Black Adam and the Justice Society (led by Pierce Brosnan) are fighting each other despite being on the same side. Although it can be explained as Amanda Waller sketchily using the Justice Society to cover up an internal affairs problem, that’s not clearly communicated. (Full review)
12. “Birds of Prey” (2020)
The DCEU’s answer to “Deadpool” is all over the place in tone, as Ewan McGregor plays a violent “Gotham”-style villain and Harley Quinn (Robbie, returning from “Suicide Squad”) yuks it up in time-hopping narration to the viewer. But those who stick with it will be rewarded by a film that gets steadily better, closing with a cool roller-skate-versus-car chase and a satisfyingly quick dispatching of the baddie. Another plus: Mary Elizabeth Winstead emerges as a rare socially challenged superhero, Huntress. By the time the titular group (also including Black Canary, ex-cop Renee Montoya and kid pickpocket Cassandra Cain) gathers for tacos in the epilogue, I was at my high point of enjoying their antics. I hope they get more films. (Full review)
11. “Justice League” (2017)
I’m doomed to the apologist role for this one, which is super-easy to make fun of, starting with the bizarre fact that Cavill was filmed with a mustache (due to a “Mission: Impossible” role), which was to be removed in post-production, but wasn’t removed all that well. Indeed, “Justice League” feels like Joss Whedon salvaging a film started by Snyder – because that’s precisely what happened. It’s easy to tell what lines come from Whedon’s pen as the JL members – Batman, Superman and Wonder Woman, along with newcomers Aquaman (Jason Momoa), the Flash (Ezra Miller) and Cyborg (Ray Fisher) – trade barbs like a team starting to jell. Some have convincingly complained that this is the “Avengers” template applied to “JL,” and that character nuances established in the comics get subsumed. Another valid critique: Steppenwolf is a better band than villain. It’s nice that the DCEU has some light and some life in it, but this is still a messy production, and as far as messy productions go, I prefer “Suicide Squad.” (Full review)
10. “Shazam! Fury of the Gods” (2023)
The sequel snaps back to the adopted-sibling bonds and humor regularly enough to be a fun experience, but this can’t totally bury the film’s problems. Zachary Levi’s title character plays second fiddle to sibling Freddy (the one played by Adam Brody as an adult, but we mostly see Jack Dylan Grazer’s younger version). The film would’ve been better if it juggled all seven siblings equally, but as it stands, it’s difficult to even keep them straight (one actress even plays both the younger and older versions while everyone else shazams back and forth). The closing battle sequence is a bit much and the out-of-time villains (including Helen Mirren!) are forgettable, but the DCEU cameos and overall spirit keep things engaging. (Full review)
9. “Wonder Woman 1984” (2020)
Gaining automatic goodwill because it was released free to HBO Max subscribers, and gaining immediate backlash because the villain’s “Monkey’s Paw” plot is so illogical, the actual quality of this sequel ranks between the two extremes. As is too often the case in superhero films, the villains are the weak points. In addition to the Maxwell Lord (Pedro Pascal) absurdities, the film passes on the comedy possibilities for wallflower-turned-superpowered Cheetah (Kristen Wiig). On the plus side, “WW84” is great every time Gadot and Chris Pine share the screen as Diana and the resurrected Steve, and the fatalistic vibe calls to mind the classic “Angel” episode “I Will Remember You.” The character-building would’ve segued nicely into part three. (Full review)
8. “Zack Snyder’s Justice League” (2021)
Not so much a movie as a live-action encyclopedia entry, Snyder’s cut of the embattled “Justice League” is the most indulgent film ever made – because it’s allowed to be. It’s totally for the fans who asked for it to be completed and released. Rated as a film, it’s at about the same level as the 2017 cut of “Justice League,” but the flaws are opposites. Here, the pacing and 4-hour length are inexcusable if we’re to judge it on cinematic terms, and the muted-palette and square-frame aesthetics are bizarre artistic crutches. On the other hand, it’s refreshing to get robust backstories for villain Steppenwolf (voiced by Ciaran Hinds) and new JL member Cyborg. The special effects are generally better, too. Still, the film feels more like homework than entertainment – although there are worse kinds of homework. (Full review)
7. “Suicide Squad” (2016)
Now I’m really in the apologist role. I like this movie, although the reason is entirely the cast and not at all the plot, which includes something like 11 helicopter crashes where everyone survives. Robbie is perfect as Harley Quinn, and I enjoy the relationship between criminal Deadshot (Will Smith) and special-ops agent Rick Flag (Joel Kinnaman) – two men who respect each others’ decency despite having been pushed into different lots in life. The rest of the Suicide Squad adds some color, and – I know I’m very much in the minority here – I find June Moone (Cara Delevingne) to be better than most DCEU villains because of her tragic romance with Flag and the way she is subsumed by Enchantress; it’s like a B-grade take on Fred/Illyria from “Angel.” Director David Ayer’s “Suicide Squad” tries something new with the Joker (Jared Leto) — as we sense he might actually like Harley, rather than simply using her – and it doesn’t ring true. Still, “Suicide Squad” is more fun than overwrought. (Full review)
6. “Aquaman” (2018)
Ah, now we move into the territory of films that don’t have to be salvaged in the editing bay after messy productions. Granted, director James Wan’s “Aquaman” flirts with the “bloated epic” style again, but I think we’ll grow to enjoy this one – watched in chunks in our living rooms – more than the Supes and Bats entries. This seems to be a split decision among the fandom, but I think gregarious muscleman Momoa is a consistently entertaining presence as Arthur/Aquaman. The story is typical of the format wherein a reluctant king reclaims the throne because letting the challenger (in this case a brother played by Patrick Wilson) take over would be horrible for his people. But there are good supporting players, including Amber Heard as a love interest and Yahya Abdul-Mateen II as the vengeance-blinded Black Manta. The production design is outstanding, although a lot of us are too jaded to appreciate how remarkable the creation of a complete underwater society is. (Full review)
5. “Aquaman and the Lost Kingdom” (2023)
Despite being the last DCEU film, it doesn’t skimp on budget, and this sequel is a skosh better than the strong O.G. The underwater scenes still look great, and we’re treated to other vibrant locales in this only mildly bloated epic about the dangers of global warming — and also, ironically, the wonders of global warming, as it opens up magnificent previously hidden vistas. The climate change is spurred on by villain Black Manta in a ridiculous “State of Fear” manner, but somehow it’s all in good fun. This sequel figures out how to use Wilson’s ex-King Orm, now exchanging lighthearted barbs with brother Arthur in a Loki-and-Thor manner. That the culturally canceled Heard (as Arthur’s wife) is barely in the film doesn’t hurt anything, thanks to the fresh brotherly banter. (Full review)
4. “Shazam!” (2019)
The DCEU goes against type with a colorful, family friendly film. It’s so safe that when Shazam (who is a kid on the inside, even though he’s played by adult Levi) warps into a strip club, we’re asked to imagine the humor rather than seeing it. Still, it wisely makes Shazam’s adoptive family a core part of the yarn, with a foster brother (Grazer) along for the origin-story ride and a little foster sister (Faithe Herman from “This Is Us”) stealing scenes. At more than 2 hours, “Shazam!” is 45 minutes too long to be an elite kiddie superhero movie. But I love that it launches the saga’s general turn away from Snyderian dourness. (Full review)
3. “Wonder Woman” (2017)
No apology is needed for this one, which flirts with perfection until the awkwardly grafted-on final CGI battle against Ares (David Thewlis). Gadot and Pine – as a World War I American soldier – showcase sparkling chemistry and funny banter, and the rest of the group of heroes isn’t bad either. Whereas the origin stories of Superman and Batman can seem “been there, done that,” “Wonder Woman’s” brings us to an ancient island society we hadn’t seen before, as this marks the titular heroine’s first starring role in a movie. Writer Allan Heinberg and director Patty Jenkins don’t portray Wonder Woman as a larger-than-life figure tasked with saving the world. Rather, Diana makes her own choice to be a hero, and – even though the stakes are sufficiently high – the result is a freer and more enjoyable entertainment experience. (Full review)
2. “The Suicide Squad” (2021)
In the era since he became a hired gun, this is peak Gunn. The writer-director brings his ingrained sense of superhero verve and color over from “Guardians of the Galaxy,” but he also appreciates this title’s unique blend of bizarre comedy and extreme (although cartoonish) violence. And he knows the squad. For example, we see how Harley Quinn, looking like her “Batman: The Animated Series” self in the opening segment, is sane on the inside, insane on the outside. Bloodsport, Ratcatcher 2 and even Polka-Dot Man are great additions. But Gunn isn’t shy about killing off characters, thus being true to the comic book’s roots. As a final-act topper, “TSS” stands toe to toe with “Godzilla vs. Kong” in city-smashing monster spectacle. (Full review)
1. “The Flash” (2023)
In its last year, the DCEU delivers its biggest winner — in quality, not in audience response; the cultural cancellation of star Miller couldn’t be overcome. Setting aside his issues as a human being, Miller is an elite actor, playing both a confident and unconfident Barry Allen/Flash (from different universes) and regularly interacting with himself. Barry’s story, involving the loss (in different ways) of two parents, provides an emotional base for director Andy Muschietti’s fan-service romp that includes Michael Keaton’s Batman, a brooding version of Supergirl (sadly one-and-done Sasha Calle) and a peek into a multiverse portal that shows us Nic Cage’s Supes from the unmade “Superman Lives.” We were one notch away from seeing Sean Young as Catwoman. “Let’s get nuts,” indeed, but it ultimately telescopes back to Barry’s story. Though not on par with “Spider-Man: No Way Home,” and suffering at times in the arena of special effects, this is a rare case where the DCEU copies its homework from the MCU and gets away with it. (Full review)