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Superman in film
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| Adaptations of Superman in other media | |
|---|---|
![]() Actors who have portrayed Superman: (first row) Kirk Alyn, George Reeves, Johnny Rockwell, (second row) Bob Holiday, Christopher Reeve, John Haymes Newton, (third row) Gerard Christopher, Ron Ely, Dean Cain, (fourth row)Tom Welling, Brandon Routh, Henry Cavill (fifth row) Tyler Hoechlin, Nicolas Cage, and David Corenswet | |
| Created by | |
| Original source | Comics published by DC Comics |
| First appearance | Action Comics #1 (April 1938) |
| Films and television | |
| Film(s) |
|
DC Comics's Superman franchise, based on the character of the same name created by Jerry Siegel and Joe Shuster in June 1938, has seen the release of various films since its inception.[1]
The character debuted in cinemas in a series of animated shorts beginning in 1941 and was the protagonist of two movie serials in 1948 and 1950. An independent studio, Lippert Pictures, released the first Superman feature film, Superman and the Mole Men, starring George Reeves, in 1951. In 1973, the film rights to the Superman character were purchased by Ilya Salkind, Alexander Salkind, and Pierre Spengler. After multiple scripts and several years in development, Richard Donner was hired as director, and he shot two films, Superman (1978) (marketed as Superman: The Movie), and Superman II (1980), at the same time, both starring Christopher Reeve. Donner had filmed 75 percent of Superman II before it was decided to suspend shooting on the first film. The Salkinds fired Donner after Supermans release and commissioned Richard Lester as the director to finish Superman II. Lester returned to direct Superman III (1983). The Salkinds also produced the spin-off Supergirl (1984). They then sold the rights to Cannon Films, which produced the poorly reviewed Superman IV: The Quest for Peace (1987). Ilya Salkind commissioned a fifth Superman script before Warner Bros. acquired the rights in 1993.
Over the course of 11 years, Warner Bros. developed and canceled three projects: Tim Burton's Superman Lives, which would have starred Nicolas Cage; Wolfgang Petersen's Batman vs. Superman; and the J. J. Abrams-scripted Superman: Flyby which went between directors Joseph "McG" Nichols and Brett Ratner. In 2004, the studio hired Bryan Singer and released Superman Returns in 2006, starring Brandon Routh. Donner's director's cut for Superman II was also released that year. Despite positive reviews, Warner Bros. was disappointed with the financial performance of Superman Returns, and canceled a sequel, which would have been released in 2009. The studio nearly started production of a Justice League film with George Miller directing and D. J. Cotrona as Superman for a 2009 release, but it was shelved in 2008.
The film series was rebooted in 2013 with Man of Steel, directed by Zack Snyder with Henry Cavill starring as Superman. Man of Steel launched what became known as the DC Extended Universe (DCEU). Cavill next appeared as Superman in the DCEU films Batman v Superman: Dawn of Justice (2016) and Justice League (2017) (both again directed by Snyder), and in the director's cut of Justice League, Zack Snyder's Justice League (2021); he then made a cameo appearance in the mid-credits scene of Black Adam (2022). The Flash (2023) featured Superman cameos portrayed by Henry Cavill, Nicolas Cage, George Reeves, and Christopher Reeve. Sasha Calle, along with Helen Slater, appeared as Supergirl in the film.
The series was once again rebooted with Superman (2025), with David Corenswet as Superman. The film was written and directed by James Gunn and is the first film of the DC Universe (DCU). Milly Alcock portrayed Supergirl in the film, and is set to reprise the role in the upcoming Supergirl (2026).
List of films
[edit]| Film | U.S. release date | Director | Lead | Story by | Screenplay by | Produced by | Music by | Distributor |
|---|---|---|---|---|---|---|---|---|
| Early films | ||||||||
| Superman serial | January 5, 1948 | Spencer Gordon Bennet and Thomas Carr | Kirk Alyn | Lewis Clay, Royal K. Cole, Arthur Hoerl, George H. Plympton and Joseph F. Poland | Sam Katzman | Mischa Bakaleinikoff | Columbia Pictures | |
| Atom Man vs. Superman serial | July 20, 1950 | Spencer Gordon Bennet | David Mathews, George H. Plympton and Joseph F. Poland | |||||
| Superman and the Mole Men | November 6, 1951 | Lee Sholem | George Reeves | Robert J. Maxwell and Whitney Ellsworth (collectively credited under the pseudonym "Richard Fielding") | Barney A. Sarecky | Darrell Calker | Lippert Pictures | |
| 1978–2006 film series | ||||||||
| Superman | December 15, 1978 | Richard Donner | Christopher Reeve | Mario Puzo | Mario Puzo, David Newman, Leslie Newman and Robert Benton | Pierre Spengler | John Williams | Warner Bros. (US) Columbia-EMI-Warner Distributors (UK) |
| Superman II | June 19, 1981 | Richard Donner and Richard Lester | Mario Puzo, David Newman, and Leslie Newman | Ken Thorne | ||||
| Superman III | June 17, 1983 | Richard Lester | David Newman and Leslie Newman | Ilya Salkind and Pierre Spengler | ||||
| Supergirl | November 21, 1984 | Jeannot Szwarc | Helen Slater | David Odell | Timothy Burrill | Jerry Goldsmith | Tri-Star Pictures (US) Columbia-EMI-Warner Distributors (UK) | |
| Superman IV: The Quest for Peace |
July 24, 1987 | Sidney J. Furie | Christopher Reeve | Lawrence Konner, Mark Rosenthal and Christopher Reeve | Lawrence Konner and Mark Rosenthal | Menahem Golan and Yoram Globus | John Williams Alexander Courage |
Warner Bros. (US) Columbia-Cannon-Warner Distributors (UK) |
| Superman Returns | June 28, 2006 | Bryan Singer | Brandon Routh | Michael Dougherty, Dan Harris and Bryan Singer | Michael Dougherty and Dan Harris | Jon Peters, Bryan Singer and Gilbert Adler | John Ottman | Warner Bros. |
| Superman II: The Richard Donner Cut |
November 28, 2006 | Richard Donner | Christopher Reeve | Mario Puzo, David Newman, and Leslie Newman | Mario Puzo | Pierre Spengler | John Williams | |
| DC Extended Universe films | ||||||||
| Man of Steel | June 14, 2013 | Zack Snyder | Henry Cavill | David S. Goyer and Christopher Nolan | David S. Goyer | Christopher Nolan, Charles Roven, Emma Thomas and Deborah Snyder | Hans Zimmer | Warner Bros. |
| Batman v Superman: Dawn of Justice |
March 25, 2016 | Chris Terrio and David S. Goyer | Charles Roven and Deborah Snyder | Hans Zimmer Junkie XL | ||||
| Justice League | November 17, 2017 | Zack Snyder and Joss Whedon[a] | Zack Snyder & Chris Terrio | Chris Terrio and Joss Whedon | Charles Roven, Deborah Snyder, Jon Berg and Geoff Johns | Danny Elfman | ||
| Zack Snyder's Justice League |
March 18, 2021 | Zack Snyder | Zack Snyder, Chris Terrio and Will Beall | Chris Terrio | Charles Roven and Deborah Snyder | Junkie XL | HBO Max | |
| DC Universe films | ||||||||
| Superman | July 11, 2025 | James Gunn | David Corenswet | James Gunn | James Gunn and Peter Safran | John Murphy David Fleming |
Warner Bros. | |
| Supergirl | June 26, 2026 | Craig Gillespie | Milly Alcock | Ana Nogueira | TBA | |||
| Man of Tomorrow | July 9, 2027 | James Gunn | David Corenswet | James Gunn | TBA | |||
Direct-to-video, cameos, and others
[edit]- 1954: Stamp Day for Superman — a short film produced for the U.S. Treasury to promote "Stamp Day", featuring George Reeves as Superman and Noel Neill as Lois Lane.
- 1992: Tiny Toon Adventures: How I Spent My Vacation – direct-to-video, featuring Jonathan Winters as Superman.
- 2006: Superman II: The Richard Donner Cut — the director's cut of Superman II, featuring around 80% new footage originally shot by director Richard Donner, including material featuring Marlon Brando.
- 2006: Superman: Brainiac Attacks — direct-to-video film utilizing character designs from Superman: The Animated Series; starring Tim Daly and Dana Delany.
- 2017: DC Super Heroes vs. Eagle Talon — animated film in which Superman is voiced by Kenichi Suzumura.[4]
- 2018: Teen Titans Go! To the Movies — animated film in which Superman is voiced by Nicolas Cage.
- 2019: Shazam! — part of the DC Extended Universe in which Superman cameos, portrayed using Ryan Hadley as a stand-in for Henry Cavill. Superman was also seen controlling a crowd of fans who wanted to have their pictures taken with Aquaman and arm-wrestling with Shazam in the film's animated end credits sequence.
- 2022: DC League of Super-Pets — animated film in which Superman is voiced by John Krasinski.
- 2022: Batman and Superman: Battle of the Super Sons – direct-to-video film in which Superman is voiced by Travis Willingham.
- 2022: Black Adam — part of the DC Extended Universe in which Superman cameos, played by Henry Cavill.
- 2023: The Flash — Superman cameos are portrayed by Henry Cavill, Nicolas Cage, Christopher Reeve and George Reeves. Sasha Calle stars as Supergirl along with a cameo by Helen Slater.
Lego DC Comics films
[edit]- 2013: Lego Batman: The Movie - DC Super Heroes Unite — Superman is voiced by Travis Willingham.
- 2014: The Lego Movie — Superman appears brieftly, voiced by Channing Tatum.
- 2014: Lego DC Comics Super Heroes: Batman Be-Leaguered — TV special featuring Nolan North as Superman.
- 2015: Lego DC Comics Super Heroes: Justice League vs. Bizarro League — direct-to-video with Superman voiced by Nolan North.
- 2015: Lego DC Comics Super Heroes: Justice League: Attack of the Legion of Doom — direct-to-video with Nolan North reprising his role as Superman.
- 2016: Lego DC Comics Super Heroes: Justice League: Cosmic Clash – direct-to-video with Nolan North reprising his role.
- 2017: The Lego Batman Movie — animated film featuring Superman with Channing Tatum reprising his role.
- 2019: The Lego Movie 2: The Second Part — animated film featuring Superman with Channing Tatum reprising his role.
Unofficial adaptations and parodies
[edit]- 1960: Return of Mr. Superman — Indian Hindi-language retelling of Superman, with the title role played by Paidi Jairaj.
- 1979: The Return of Superman (Turkish: Süpermen Dönüyor; also known as "Turkish Superman") — a Turkish adaptation directed by Kunt Tulgar and starring Tayfun Demir as Superman.[5][6]
- 1980: Superman — Indian Telugu-language film starring N. T. Rama Rao as Superman.[7]
- 1987: Superman — Indian Hindi-language film with Puneet Issar as Superman.[7]
- 2011: The Death and Return of Superman — short film released on YouTube by writer Max Landis.
Animated Original Movies universe
[edit]The DC Universe Animated Original Movies is a direct-to-video animated film series that often features Superman in a leading or supporting role.
Pre-Donner films (1941–1951)
[edit]Superman (1941–1943)
[edit]Superman first appeared in cinemas in a 17-part series of theatrical animated shorts, between 1941 and 1943. They were released by Paramount Pictures. Of those 17 shorts, 9 were produced by Fleischer Studios, and the further 8 by its successor, Famous Studios.[11] Superman was voiced by Bud Collyer (who also played Superman on The Adventures of Superman radio series) for the Fleischer-produced shorts and Lee Royce for the Famous-produced shorts.[12]
| # | Title | Original release date |
|---|---|---|
| Fleischer Studios | ||
| 1. | Superman | September 26, 1941 |
| 2. | The Mechanical Monsters | November 28, 1941 |
| 3. | Billion Dollar Limited | January 9, 1942 |
| 4. | The Arctic Giant | February 27, 1942 |
| 5. | The Bulleteers | March 27, 1942 |
| 6. | The Magnetic Telescope | April 24, 1942 |
| 7. | Electric Earthquake | May 15, 1942 |
| 8. | Volcano | July 10, 1942 |
| 9. | Terror on the Midway | August 28, 1942 |
| Famous Studios | ||
| 10. | Japoteurs | September 18, 1942 |
| 11. | Showdown | October 16, 1942 |
| 12. | Eleventh Hour | November 20, 1942 |
| 13. | Destruction, Inc. | December 25, 1942 |
| 14. | The Mummy Strikes | February 19, 1943 |
| 15. | Jungle Drums | March 26, 1943 |
| 16. | The Underground World | June 18, 1943 |
| 17. | Secret Agent | July 30, 1943 |
Kirk Alyn serials
[edit]
Superman (1948)
[edit]The first appearance of Superman in live-action film was in Superman (1948), a 15-part film serial from Columbia Pictures, starring Kirk Alyn as the titular character (uncredited), Noel Neill as Lois Lane, and Tommy Bond as Jimmy Olsen.[13]
Atom Man vs. Superman (1950)
[edit]The 1948 Superman was followed up by Atom Man vs. Superman, another 15-part serial from Columbia Pictures, the first installment of which was released in 1950. The serial featured the same main cast including Kirk Alyn as Superman, with the addition of Lyle Talbot as Lex Luthor, also known as the "Atom Man".
Superman and the Mole Men (1951)
[edit]
Shot on a low budget, Lee Sholem's Superman and the Mole Men (1951) served as a trial run for the syndicated TV series Adventures of Superman (airing 1952–58), for which the 1951 film became a two-part pilot episode titled "The Unknown People".[14]
Both the film and the subsequent TV series starred George Reeves as Superman. Lois Lane, on the other hand, was played by Phyllis Coates in the film and the first season of the show, but was re-cast in later seasons with Noel Neill (who also played the character in the previous Kirk Alyn films). The film was produced by Barney Sarecky with the original screenplay by Richard Fielding (a pseudonym for Robert Maxwell and Whitney Ellsworth).[14][15]
In 1954, the short film Stamp Day for Superman was produced for the U.S. Treasury to promote "Stamp Day", featuring Reeves and Neill.
Salkind/Cannon film series (1978–1987)
[edit]
In 1973, producer Ilya Salkind convinced his father Alexander to buy the film rights to Superman. They hired Mario Puzo to pen a two-film script and negotiated with Steven Spielberg to direct, though Alexander eventually landed on Richard Donner. Superman (1978) and Superman II (1980) were shot simultaneously.
Superman (1978)
[edit]Guy Hamilton was hired to direct, with Marlon Brando and Gene Hackman signing on to play Jor-El and Lex Luthor, respectively. With pre-production taking place in Rome, complication arose when it was discovered that Brando could not film in Italy as he faced an obscenity lawsuit over Last Tango in Paris (1972). As a result, production would subsequently move to England in late 1976, but Hamilton was unable to shoot in England as he had violated his tax payments.[16][17] To replace Hamilton, the Salkinds hired Richard Donner, who in turn brought on Tom Mankiewicz to polish the script, giving it a serious feel with Christ-like overtones.[18]
There was a lengthy search for a lead, and a number of famous figures turned down the role, including Robert Redford and Burt Reynolds. Eventually, Christopher Reeve was cast, and underwent an exercise regimen to bulk up, gaining 24 pounds (11 kg) before filming.[19] Margot Kidder was cast as Lois Lane.
With a budget of US$55 million, the 1978 Superman was the most expensive film made up to that point.[20] It was a success both critically and commercially.[21]
Superman II (1980)
[edit]Despite the success of 1978's Superman, director Richard Donner did not return to finish its sequel. Evidently, production of both films were marred by Donner's bad relationship with the Salkinds, for which Richard Lester acted as mediator.[18]
With the film[specify] going over budget, the filmmakers decided to temporarily cease production of Superman II altogether, moving its climax into the first film.[18] Eventually, it was completed with Lester, who gave it a more tongue-in-cheek tone relative to the first film. Nonetheless, Superman II was another financial and critical success, despite stiff competition with Raiders of the Lost Ark the same year.
In 2006, after many requests for his own version of Superman II, Donner and producer Michael Thau produced their own cut and released it on November 28 that year. The Donner Cut received positive response from critics[22] as well as from the stars of the original film; according to the studio, the cut made Donner "the first director in history to be able to complete a film he left during production with nearly all his footage in the can".[23]
Superman III (1983)
[edit]For the third installment, Ilya Salkind wrote a treatment that expanded the film's scope to a cosmic scale, introducing villains Brainiac and Mister Mxyzptlk, as well as Supergirl.[18] Warner Bros., however, rejected and retooled the script into their own film,[18] trimming Brainiac down into the film's evil "ultimate computer". The final product co-starred comedian Richard Pryor as computer genius Gus Gorman, who is manipulated into making fake Kryptonite that corrupts Superman.[24]
Despite its success, fans were disappointed, in particular with Pryor's performance diluting the serious tone of the previous films, as well as controversy over the depiction of the evil Superman.[18] Salkind's rejected proposal was eventually released online in 2007.[18]
Supergirl (1984)
[edit]
Along with gaining the film rights to Superman, Alexander and Ilya Salkind also purchased the rights to the character of Superman's cousin, Supergirl.[25]
Supergirl was released in 1984 as a spin-off of the Reeve films; Reeve was slated to have a cameo but he ultimately backed out, though his likeness appears in a photo.[26] It stars Helen Slater in her first motion picture in the title role, with Faye Dunaway (who received top billing) playing the primary villain, Selena, along with Marc McClure reprising his role as Jimmy Olsen.[27]
Although the film received mostly negative reviews from critics and fared poorly at the box office,[28] Slater was nominated for a Saturn Award for her performance.[29]
Superman IV: The Quest for Peace (1987)
[edit]Cannon Films picked up an option for a fourth film, directed by Sidney J. Furie, with Reeve reprising the role due to his interest in the film's topic regarding nuclear weapons. Several others reprised their roles as well, including Kidder (Lois Lane) and Hackman (Lex Luthor). Cannon decided to cut the budget, resulting in poor special effects and heavy re-editing, which contributed to the film's poor reception.[18]
Although the film was a minor financial success, Warner Bros. decided to end the series, following the mixed to negative reception of the last two films.[18]
Superman Returns (2006)
[edit]
Following several unsuccessful attempts to reboot the franchise, Bryan Singer, who was said to be a childhood fan of the 1978 film, was approached by Warner Brothers to direct a new Superman film. He accepted, abandoning two films already in pre-production, X-Men: The Last Stand (which would come to be directed by Brett Ratner) and a remake of Logan's Run. To work on the film, Singer brought his entire crew from X2.[30]
For the lead role, Brandon Routh was chosen in part because of his resemblance to Christopher Reeve; in fact, Routh had been signed by his manager several years earlier due to this resemblance. Singer followed Richard Donner's lead in casting a relatively unknown actor as the titular character and more high-profile actors in supporting roles, such as Kevin Spacey as Lex Luthor. Through digitally-enhanced archive footage, Marlon Brando, who had died in 2004, appears in the film as Jor-El.[30]
As backstory, the film uses the events of the 1978 film and Superman II,[31][32] while ignoring the events of Superman III and Superman IV: The Quest for Peace and its spin-off Supergirl.[31] Singer's story tells of Superman's return to Earth following a 5-year search for survivors of Krypton. He discovers that, in his absence, Lois Lane has given birth to a son and become engaged.[30]
Superman Returns received positive reviews and grossed approximately US$391 million worldwide.
DC Extended Universe (2013–2023)
[edit]
Man of Steel (2013)
[edit]In June 2008, Warner Bros. took pitches from comic book writers, screenwriters and directors on how to restart the Superman film series.[33] During story discussions for The Dark Knight Rises in 2008, David S. Goyer, aware that Warner Bros. was planning a Superman reboot, told Christopher Nolan his idea on how to present Superman in a modern context. Impressed with Goyer's concept, Nolan pitched the idea to the studio in February 2010,[34] who hired Nolan to produce and Goyer to write[35] based on the financial and critical success of The Dark Knight.[36] Nolan admired Singer's work on Superman Returns for its connection to Richard Donner's version, and previously used the 1978 film as casting inspiration for Batman Begins. Zack Snyder was hired as the film's director in October. Principal photography started in August 2011 in West Chicago, Illinois, before moving to Vancouver and Plano, Illinois. The film stars Henry Cavill as Kal-El / Clark Kent / Superman, Amy Adams as Lois Lane, Michael Shannon as General Zod, Diane Lane as Martha Kent, Kevin Costner as Jonathan Kent, Laurence Fishburne as Perry White, and Russell Crowe as Jor-El. The film was released in June 2013.
Batman v Superman: Dawn of Justice (2016)
[edit]David S. Goyer and Zack Snyder respectively wrote and directed Batman v Superman: Dawn of Justice (2016), a follow-up to Man of Steel and the second film in the DC Extended Universe.[37][38] Christopher Nolan returned as producer, albeit in a lesser role than he had in the first film.[39] Goyer stated at the Superman 75th Anniversary Panel at the 2013 San Diego Comic-Con that Batman and Superman would battle, and titles under consideration were Superman Vs Batman and Batman Vs Superman.[40] Over the next six months, Ben Affleck (as Batman),[41] Gal Gadot (as Wonder Woman),[42] Jesse Eisenberg (as Lex Luthor) and Jeremy Irons (as Alfred Pennyworth)[43] were added to the cast. All have since appeared in other DCEU films as well.
The film was released on March 25, 2016; initially was slated to July 2015, but was delayed in order to give the filmmakers "time to realize fully their vision, given the complex visual nature of the story".[44]
Justice League (2017)
[edit]Shortly after filming had finished for Man of Steel, Warner Bros hired Will Beall to script a new Justice League film in June 2012.[45] With the release of Man of Steel in June 2013, Goyer was hired to write a new Justice League script, with the Beall draft being scrapped.[46] Zack Snyder was hired to direct Goyer's Justice League script.[47] Warner Bros. was reportedly courting Chris Terrio to rewrite Justice League, after having been impressed with his rewrite of Batman v Superman.[48] During post-production of the film, Zack Snyder left the film due to the death of his daughter.[49] Joss Whedon took over the project and wrote and directed reshoots.[49]
Zack Snyder's Justice League (2021)
[edit]The divisive reaction toward the theatrical cut of Justice League, with Zack Snyder leaving directorial duties and the theatrical cut of the film in the hands of Joss Whedon, led to an argument comparing the situation to the one experienced by the film Superman II. Both Justice League and Superman II had a director who was replaced before the completion of the film (for different reasons), which led to a second director coming in and making substantial changes to the tone of the film. Richard Donner was able to complete his cut of Superman II in 2005.[50] In the belief that Snyder had shot enough material for a finished film, a campaign for a "Snyder Cut" began online, to allow Snyder to receive a similar treatment to Donner. Arguments were made that Snyder's vision would be more cohesive to the previous films than the actual theatrical cut, which Snyder has not yet seen. Warner Bros. initially remained silent regarding any intention of making a "Snyder Cut".[51]
In March 2019, Snyder confirmed his original cut did exist, and stated that it was up to Warner Bros. to release it.[52] In November, Variety reported that Warner Bros. was unlikely to release Snyder's version of Justice League in theaters or on HBO Max, calling it a "pipe dream".[53] In December, however, Snyder posted a photo on his Vero account, which showed boxes with tapes labeled "Z.S. J.L Director's cut", and with the caption "Is it real? Does it exist? Of course it does".[54] In May 2020, Snyder officially announced his cut of Justice League for HBO Max for 2021 release date.[55] The cut cost $70+ million to complete the special effects, musical score, editing, and additional shooting. Initially the cut was planned to be a four part miniseries, but was instead eventually released as a four-hour film.[56][57][58][59][60] Snyder said that this version is non-canonical to DC Extended Universe continuity, existing in a slightly alternate universe.[61] Jason Momoa, however, said that James Wan's Aquaman (2018) takes place after Zack Snyder's Justice League rather than Whedon's version,[62] while Wonder Woman (2017) director Patty Jenkins said that no DC director considers Whedon's Justice League canonical, and that she had worked with Snyder to ensure Wonder Woman maintained continuity with his film.[63]
DCEU cameos (2019–2023)
[edit]- Superman made a cameo appearance in the DCEU film Shazam! (2019), in which he appears briefly at the end. He is played by Ryan Hadley, Zachary Levi's body double, owing to Cavill's unavailability.[64] He appears from the neck down after Billy Batson announces to Freddy Freeman that he invited another person to sit with them at lunch. Upon seeing him, Freddy gasps in shock.
- Superman is referenced in The Suicide Squad (2021). Amanda Waller states that Bloodsport, a new member of Task Force X, was arrested and imprisoned for shooting Superman with a Kryptonite bullet.[65]
- Superman has made a cameo appearance in the DCEU TV series Peacemaker (2022), in which he appears briefly in the final episode of the first season. He and the Justice League, with the exception of Batman and Cyborg, are called by Waller to assist Christopher Smith / Peacemaker in facing the Butterfly army but arrive too late, missing the fight. He is played by Brad Abramenko.
- Cavill reprised his role as the character in a cameo, filmed for the mid-credits scene of Black Adam (2022). In the scene, Superman is dispatched by Amanda Waller to Kahndaq, to talk with Black Adam.
- Nicolas Cage makes a cameo appearance as an alternate version of Superman in The Flash.[66] CGI versions of Henry Cavill, George Reeves and Christopher Reeve also appear as Superman.[67] Additionally, Sasha Calle stars as Supergirl with a CGI version of Helen Slater as Supergirl also making an appearance.[68][69]
DC Universe (2025–present)
[edit]Superman (2025)
[edit]
In October 2022, filmmaker James Gunn and producer Peter Safran were appointed to serve as the co-chairmen and co-CEOs of the then-newly formed DC Studios to develop plans for a new DC shared universe slate. Gunn stated in December that Superman was a huge priority for the studio,[70] and announced that he was writing a new Superman film that would focus on a younger version of the character,[71] who would be depicted as a cub reporter interacting with key characters such as Lois Lane.[72] As such, Henry Cavill was not expected to return, although Gunn and Safran met with the actor to discuss potentially working together in the future,[71] including potentially portraying a different character.[72] There was potential for Gunn to also direct the film,[71] which was not expected to be an origin story for the character.[73] The film's title was revealed to be Superman: Legacy in January 2023, with Gunn describing it as the "true start" to the studio's overarching narrative of the new DCU franchise and is scheduled to be released on July 11, 2025.[74] In June, David Corenswet was cast as Superman, and Rachel Brosnahan was cast as Lois Lane.[75] In July, Isabela Merced, Edi Gathegi, and Nathan Fillion were cast as Hawkgirl, Mister Terrific, and Guy Gardner respectively. Anthony Carrigan was cast as Metamorpho right after.[76] In November, Nicholas Hoult was cast to play Lex Luthor.[77] By February 2024, the film had been retitled to Superman. A first look at Superman's suit emblem was also released,[78] visually referencing Superman's appearance in DC Comics' Kingdom Come comic book miniseries.
Supergirl (2026)
[edit]In January 2023, James Gunn announced a standalone film featuring the character Supergirl set in the new DCU franchise, which would derive significantly from the Supergirl: Woman of Tomorrow miniseries by writer Tom King. Both Superman (2025) and Supergirl will be part of Chapter 1 of the DCU which is titled as Gods and Monsters.[79] In November, Ana Nogueira was set to write the screenplay.[80] In January 2024, Milly Alcock was cast as Supergirl to debut in another DCU project, reported to be Superman.[81] Craig Gillespie entered talks to direct the film in April 2024, and was confirmed as director the next month when the film was given its release date. Filming took place from January to May 2025 and is scheduled to release theatrically on June 26, 2026.[82][83]
Man of Tomorrow (2027)
[edit]In June 2025, Gunn said he had begun writing a follow-up to Superman that would not be a direct sequel, but would feature Superman in a major role.[84][85] Corenswet and Brosnahan had options for a potential sequel, but following Superman's release in July, a direct sequel was not expected to be imminently announced.[86] In August, Zaslav confirmed that Gunn was writing and directing the next film in the "Super-Family",[87] which Gunn said he had finished writing a script treatment for. He described it as the next story in the "Superman Saga" and hoped to begin production soon.[88] In September, Gunn announced that the film was titled Man of Tomorrow and it was given a release date of July 9, 2027.[89]
Appearances in DCU media
[edit]- Clark Kent / Superman and Kara Zor-El / Supergirl make non-speaking cameo appearances in the animated series Creature Commandos, where they are depicted in a vision for a potential future, having been killed alongside several other heroes such as Batman, Wonder Woman, Hawkgirl, Peacemaker, Vigilante, Blue Beetle, Booster Gold, Starfire, Mister Terrific, Green Lantern, Robin, Flash, and Judomaster.[90]
- Clark Kent / Superman and Kara Zor-El / Supergirl make non-speaking cameo appearances in the Peacemaker episode "The Ties That Grind", as siluetes along with the Justice Gang, consisting of Mister Terrific, Guy Gardner and Hawkgirl. They were contact by Amanda Waller to aid Peacemaker and the 11th Street Kids against the Butterfly invasion, only to arrive too late. Their scene was reshooted from the episode "It's Cow or Never", where originally the Justice League, consisting of Superman, Wonder Woman, Aquaman and The Flash appeared.
Abandoned projects
[edit]Superman V (1980s/90s)
[edit]Before the failure of Superman IV: The Quest for Peace, Cannon Films considered producing a fifth film with Albert Pyun as director. Cannon's bankruptcy resulted in the film rights reverting to Ilya and Alexander Salkind.[91] The story had Superman dying and being resurrected in the shrunken, bottled Krypton city of Kandor.[92] The premise of Superman's death and rebirth coincidentally predated 1992 "The Death of Superman" comic book storyline.
Superman Reborn (1995)
[edit]"In any good Superman movie, the fate of the whole planet should be at stake. You've got to have villains whose powers and abilities demand that Superman (and only Superman) can be the one who stops them. That's the only way to make the movie exciting and a dramatic challenge".
With the success of "The Death of Superman" comic book storyline, Warner Bros. purchased the film rights of Superman from the Salkinds in 1993, and hired producer Jon Peters to develop a new Superman film. Peters in turn hired Jonathan Lemkin to write a new script.[93]: 188 Major toy companies insisted on seeing Lemkin's screenplay before the deadline of the 1993 American International Toy Fair.[93]: 188
Lemkin's script in March 1995,[94] titled Superman Reborn, featured Lois Lane and Clark Kent with relationship troubles, and Superman's battle with Doomsday. When Superman professes his love to Lois, his life force jumps between them just as he dies, giving Lois a virgin birth. Their child, who grows to adulthood in three weeks, becomes the resurrected Superman and saves the world.[93]: 188–189 Warner Brothers did not like the script because of the similar underlying themes with Bruce Wayne's obligations of heroism found in Batman Forever (1995).[93]: 189 [95]
To rewrite Lemkin's text, Peters hired Gregory Poirier,[93]: 189 whose December 1995 script[96] had Brainiac creating Doomsday, infused with "Kryptonite blood". In Poirier's script, Superman has romance problems with Lois Lane and visits a psychiatrist before he is killed by Doomsday. An alien named Cadmus, a victim of Brainiac, steals his corpse. Superman is resurrected and teams with Cadmus to defeat Brainiac. Powerless, Superman wears a robotic suit until his powers—which, according to the script, are a mental discipline called "Phin-yar"—return.[93]: 189 At Peters' request, Poirier had Superman wear an all-black suit at the end of the script.[93]: 189 Other villains included Parasite and Silver Banshee.[91] Though Poirier's script impressed Warner Brothers,[95] Kevin Smith was hired to rewrite;[97] Smith thought that Poirier's script did not respect the Superman mythos properly.[93]: 189
Superman Lives (1998)
[edit]Kevin Smith pitched Jon Peters his story outline in late 1996, and he was allowed to write the screenplay under certain conditions:[93]
- Peters did not want Superman to fly,[93]: 190 arguing that the character would "look like an overgrown Boy Scout".[91] Smith wrote Superman flying as "a red-and-blue blur in flight, creating a sonic boom every time he flew".[98]
- Peters also wanted Superman to fight a giant spider in the third act.[93]: 190
Smith accepted the terms, realizing that he was being hired to execute a preordained idea.[93]: 190 Peters would go on to insist further additions:
- Smith was also forced to write a scene involving Brainiac fighting a polar bear at the Fortress of Solitude.[93]: 190
- The Star Wars 20th anniversary re-release in theaters prompted Peters to commission a "space dog" that Brainiac could present to Luthor purely for merchandising appeal and toy sales.[97]
- Peters also insisted that Brainiac's robot assistant L-Ron was to be voiced by Dwight Ewell, calling the character "a gay R2-D2 with attitude".[97]
Smith's script, titled Superman Lives, had Brainiac sending Doomsday to kill Superman, as well as blocking out the sun to make Superman powerless, as Superman is fueled by sunlight. Brainiac teams up with Lex Luthor, but Superman is resurrected by a Kryptonian robot, the Eradicator. Brainiac wishes to possess the Eradicator and its technology. Powerless, the resurrected Superman is sheathed in a robotic suit formed from the Eradicator itself until his powers return, courtesy of sunbeams, and defeats Brainiac.[98] Smith said that he originally wrote Brainiac with someone like Patrick Stewart in mind, however the studio was talking about casting Nicolas Cage as Brainiac. Smith recommended that Cage play Superman instead.[99] Smith's "dream casting choices" included Ben Affleck as Clark Kent/Superman, Linda Fiorentino as Lois Lane, Jack Nicholson as Lex Luthor, Famke Janssen as Mercy Graves, John Mahoney as Perry White, David Hyde Pierce as the Eradicator, Jason Lee as Brainiac, and Jason Mewes as Jimmy Olsen.[100] Affleck would go on to portray Superman actor George Reeves in the 2006 film Hollywoodland, and Batman in the DC Extended Universe, beginning with Batman v Superman: Dawn of Justice in 2016.
Robert Rodriguez was offered the chance to direct, but turned down the offer due to his commitment on The Faculty (1998), despite liking Smith's script.[93]: 191
Smith originally suggested Tim Burton to direct his script,[97] and Burton signed on with a pay-or-play contract of $5 million. Smith was told that as soon as Burton signed on to direct that he said “I’m going to go another way, I’m going to do my own version of Superman".[99] Warner Bros. originally planned on a theatrical release date for summer 1998, the 60th anniversary of the character's debut in Action Comics.[95] Smith said that Peters first choice for Superman was Sean Penn.[101] Nicolas Cage, a comic book fan, signed on as Superman with a $20 million pay-or-play contract, believing he could "reconceive the character".[93]: 192 Peters also felt Cage could "convince audiences he [Superman] came from outer space".[102] Burton explained Cage's casting would be "the first time you would believe that nobody could recognize Clark Kent as Superman, he [Cage] could physically change his persona".[103] Kevin Spacey was approached for the role of Lex Luthor,[103] while Christopher Walken was Burton's choice for Brainiac,[104] a role also considered for Jim Carrey and Gary Oldman. Sandra Bullock, Courteney Cox and Julianne Moore had been approached for Lois Lane, while Chris Rock was cast as Jimmy Olsen.[104] Michael Keaton confirmed his involvement, but when asked if he would be reprising his role as Bruce Wayne / Batman from Burton's Batman films, he would only reply, "Not exactly".[105]
Filming was originally set to begin in early 1998.[106]
Rewrites and production
[edit]In the summer of 1997, Superman Lives entered pre-production,[93]: 193 with an art department employed under production designer Rick Heinrichs.[103] Burton hired Wesley Strick to rewrite Smith's script, which disappointed Smith, who commented:
The studio was happy with what I was doing. Then Tim Burton got involved, and when he signed his pay-or-play deal, he turned around and said he wanted to do his version of Superman. So who is Warner Bros. going back to? The guy who made Clerks, or the guy who made them half a billion dollars on Batman?[93]: 193
When Strick read Smith's script, he was annoyed with the fact that "Superman was accompanied/shadowed by someone/something called the Eradicator".[93]: 193 He also felt that "Brainiac's evil plot of launching a disk in space to block out the sun and make Superman powerless was reminiscent of an episode of The Simpsons, with Mr. Burns doing the Brainiac role".[93]: 193 After reading The Death and Return of Superman, Strick was able to understand some of the elements of Smith's script. Strick's rewrite featured Superman as an existentialist, thinking of himself to be an outsider on Earth. Superman is threatened by Brainiac and Lex Luthor, who later amalgamate into "Lexiac", described by Strick as "a schizo/scary mega-villain".[93]: 193 Superman is later resurrected by the power of 'K', a natural force representing the spirit of Krypton, as he defeats Lexiac.[93]: 193
Art designer Sylvain Despretz claimed the art department was assigned to create something that had little or nothing to do with the Superman comic book, and also explained that Peters "would bring kids in, who would rate the drawings on the wall as if they were evaluating the toy possibilities. It was basically a toy show".[93]: 196 Peters saw a cover of National Geographic, containing a picture of a skull, going to art department workers, telling them he wanted the design for Brainiac's spaceship to have the same image. Burton gave Despretz a concept drawing for Brainiac, which Despretz claims was "a cone with a round ball on top, and something that looked like an emaciated skull inside. Imagine you take Merlin's hat, and you stick a fish bowl on top, with a skull in it".[93]: 196 Concept artist Rolf Mohr said in an interview that he designed a suit for the Eradicator for a planned scene in which it transforms into a flying vehicle.[107]
"We got the Kevin Smith script, but we were told not to read it, because they knew he wasn't going to stay on the movie. So we used Kevin Smith's script as a guide to the sets we might be doing, and we waited and waited for the new script to come in, but it never did".
Burton chose Pittsburgh, Pennsylvania as his primary filming location for Metropolis,[93]: 197 while start dates for filming were pushed back.[95] A minor piece of the Krypton set was constructed but then destroyed, and Cage had even attended a costume fitting.[108]
The studio was also considering changing the title Superman Lives back to Superman Reborn.[109] Deeming Wesley Strick's script too expensive, Warner Bros. enlisted the help of Dan Gilroy to rewrite it into something more economically feasible. Gilroy lowered the $190 million budget set by Strick's draft to $100 million, but the studio was still less willing to fast track production, due to financial reasons with other film properties, having Gilroy turn in two drafts.[110]
Abandonment
[edit]In April 1998 Warner Bros. ultimately chose to put the film on hold;[95] at this point in production, the studio had spent $30 million on developing the film.[93]: 198 Burton, having left to direct Sleepy Hollow (1999), cited various differences with Peters and the studio: "I basically wasted a year. A year is a long time to be working with somebody that you don't really want to be working with".[111]
Disappointed by the lack of progress on the film's production, aspiring screenwriter/comic book fan Alex Ford was able to have a script of his (titled Superman: The Man of Steel) accepted at the studio's offices in September 1998. Ford pitched his idea for a film series consisting of seven installments, and his approach impressed Warner Bros. and Peters, though he was later given a farewell due to creative differences.[91] Ford said:
I can tell you they don't know much about comics. Their audience isn't you and me who pay $7.00. It's for the parents who spend $60 on toys and lunchboxes. It is a business, and what's more important, the $150 million at the box office or the $600 million in merchandising?[110]
With Gilroy's script, Peters offered the director's position to Michael Bay, Shekhar Kapur and Martin Campbell, though they all turned down the offer.[91] Brett Ratner turned down the option in favor of The Family Man.[112] Simon West and Stephen Norrington were reportedly top contenders as well.[citation needed] In June 1999, William Wisher Jr. was hired to write a new script, and Cage assisted on story elements.[113] Cage dropped out of the project in June 2000, while Wisher turned in a new script in August, reported to have contained similar elements with The Matrix.[91] Oliver Stone was then approached to direct Wisher's script, but declined.[91] Peters offered Will Smith the role of Superman, but Smith turned it down over concerns his ethnicity could result in him facing retaliation from the film industry for taking the role.[114]
Retrospective development (2015–2018, 2023)
[edit]The film's backstory was covered in the 2015 documentary film The Death of "Superman Lives": What Happened?.[115] Kevin Smith would go on to direct the ninth episode of the second season of Supergirl, which was titled "Supergirl Lives" as homage to Superman Lives.[116]
In November 2016, Kevin Smith said that he was open to having the Superman Lives script be adapted as an animated film, with Nicolas Cage voicing Superman and Michael Rooker voicing Lex Luthor.[117] The following year, Batman vs. Two-Face writer Michael Jelenic revealed that he originally pitched an animated film based on Smith's Superman Lives script, saying that Warner Bros seriously considered it for a long time.[118] According to Jelenic, Cage would have loved to voice Superman in the film, but the idea never materialized and his pitch was abandoned.[119]
Cage was ultimately cast to voice Superman in the animated film Teen Titans Go! To the Movies, based on the Teen Titans Go! cartoon show, which was released in July 2018.[120] In 2019, Cage was approached to play Superman, in live-action form, by Marc Guggenheim and the producers of the Arrowverse five-part crossover event "Crisis on Infinite Earths", which aired from December 2019 to January 2020, but Cage's inclusion was ultimately dropped for unknown reasons.[121] In 2023, Cage made a cameo as Superman in The Flash, directed by Andy Muschietti.[122] The film includes a scene rendered through computer-generated imagery where Cage as Superman, exactly as he looks in the 90s test footage, fights a robotic spider, as an homage to the demand that Jon Peters gave to Kevin Smith.[123][124]
Batman vs. Superman: Asylum (2004)
[edit]In the early 2000s, Warner Bros. wanted to reboot the Superman film series with an origin story and ignore "The Death of Superman" storyline that had been stuck in development limbo through the late 1990s.[125]
In 2001, screenwriter Paul Attanasio was almost signed to pen a new script for producer Jon Peters;[126] although McG being widely reported as attached to Attanasio's Superman script, which was greenlit, he dropped out in favor of Charlie's Angels: Full Throttle (2003).[127] Ultimately, Andrew Kevin Walker was hired in August that year after pitching Warner Bros. an idea titled Batman vs. Superman, attaching Wolfgang Petersen as director.[128]
In February 2002, filmmaker J. J. Abrams was hired to write a new screenplay for a stand-alone Superman film,[129] going under the title of Superman: Flyby,[91][130] again approaching Petersen to direct.[131] In July, Abrams turned in his script, designed to be the first of a trilogy. Lorenzo di Bonaventura—Warner Bros' executive vice president for worldwide motion pictures—though liking Abrams' script, nonetheless planned to release Batman vs Superman first. Abrams' script was thereby put on hold in favor of Walker's Batman vs. Superman idea.[132][131]
Walker's draft was thought of as too dark by the studio, who hired Akiva Goldsman to do a rewrite, which was codenamed Asylum.[133][134] Goldsman's draft,[135] dated June 21, 2002, introduced Bruce Wayne attempting to shake all of the demons in his life after his 5-year retirement from crime-fighting. Dick Grayson, Alfred Pennyworth, and Commissioner Gordon are all dead. Meanwhile, Clark Kent is down on his luck and in despair after his divorce from Lois Lane. Clark serves as Bruce's best man at his wedding to the beautiful and lovely Elizabeth Miller. After Elizabeth is killed by the Joker at the honeymoon, Bruce is forced to don the Batsuit once more, tangling a plot which involves Lex Luthor, while Clark begins a romance with Lana Lang in Smallville and tries to pull Bruce back. In return, Bruce blames Clark for her death, and the two go against one another, prodded on by Luthor. After Batman decides not to succumb to his rage, the two team up, stop Luthor in his mechanized suit and an incoming meteor storm.[136] The studio wanted Johnny Depp as Batman and Josh Hartnett as Superman.[137]
Christian Bale, who was being considered for the lead in Darren Aronofsky's Batman: Year One adaptation at the time (another canceled film),[138] was simultaneously approached by Petersen for the Batman role. Petersen confirmed in a 2010 interview that the only actor he approached for Superman was Josh Hartnett.[139] Warner Bros canceled development to focus on individual Superman and Batman projects after Abrams submitted another draft for Superman: Flyby.[134] Christopher Nolan cast Bale as Batman the following year in Batman Begins.
In the opening scene of I Am Legend, a large banner displays the Superman symbol within the Batman symbol in Times Square. It is meant as an in-joke by writer Goldsman, who wrote the scripts for both Batman vs. Superman and I Am Legend.[140]
Superman: Man of Steel (2004)
[edit]Turning in his script in July 2002, J. J. Abrams' Superman: Man of Steel, commonly referred to as Superman: Flyby, was an origin story that included Krypton besieged by a civil war between Jor-El and his corrupt brother Kata-Zor. Before Kata-Zor sentences Jor-El to prison, Kal-El is launched to Earth to fulfill a prophecy. Adopted by Jonathan and Martha Kent, he forms a romance with Lois Lane in the Daily Planet. Lois however is more concerned with exposing Lex Luthor, written as a government agent obsessed with UFO phenomena. Clark reveals himself to the world as Superman, bringing Kata-Zor's son, Ty-Zor, and three other Kryptonians to Earth. Superman is defeated and killed, and visits Jor-El (who committed suicide on Krypton while in prison) in Kryptonian heaven. Resurrected, he returns to Earth and defeats the four Kryptonians. The script ends with Superman flying off to Krypton in a spaceship.[91]
Brett Ratner was hired to direct in September 2002, originally expressing an interest in casting an unknown for the lead role, while filming was to start sometime in late 2003.[141] Christopher Reeve joined as project consultant, citing Tom Welling, who portrayed the teenage Clark Kent in Smallville, as an ideal candidate. Reeve added that "the character is more important than the actor who plays him, because it is an enduring mythology. It definitely should be an unknown".[142] Ratner approached Josh Hartnett, Jude Law, Paul Walker and Brendan Fraser for Superman, but conceded that finding a famous actor for the title role had proven difficult because of contractual obligations to appear in sequels: "No star wants to sign that, but as much as I've told Jude and Josh my vision for the movie, I've warned them of the consequences of being Superman. They'll live this character for 10 years because I'm telling one story over three movies and plan to direct all three if the first is as successful as everyone suspects".[143] Hartnett in particular was offered $100 million for a three-picture deal, but turned it down as he didn't want his life be "shallowed up" by his work.[144][145] Walker tested for the role and seriously considered taking it, but later declined it and as well the $10 million deal as he felt it wasn't for him.[146] He would later explained that "I could have made a gazillion dollars on that franchise. I could probably have bought my own fleet of jets or my own island. You know what? I don't need it".[147] Law immediately felt he was wrong for the part upon putting on the costume, admitting that it was a "step too far".[148] David Boreanaz, Victor Webster[149] and Ashton Kutcher auditioned, along with Keri Russell as Lois Lane,[150] but Kutcher decided not to pursue the role, citing scheduling conflicts with That '70s Show, the Superman curse and fear of typecasting,[151] while Boreanaz had to back out due to obligations with Angel.[149] James Marsden stated in a 2006 interview that at one point he was approached by Ratner.[152] Although it was never formally announced, Matt Bomer confirmed that he was in the running for the lead role, being Ratner's preferred choice at the time. Bomer would later voice the character in the 2013 animated film Superman: Unbound.[153] Bomer later felt that the reason he ultimately did not get the role was due to him coming out as gay.[154] Amy Adams had also auditioned for Lois Lane, and would eventually win the role eight years later when she was cast in Man of Steel.[155]
Superman: Man of Steel was being met with a budget exceeding $200 million, not including money spent on Superman Reborn, Superman Lives and Batman vs. Superman, but Warner Bros. was still adamant for a summer 2004 release date.[127] Christopher Walken was in negotiations for Perry White, while Ratner wanted to cast Anthony Hopkins as Jor-El, and Ralph Fiennes as Lex Luthor, two of his cast members from Red Dragon.[156] Joel Edgerton turned down a chance to audition as Superman in favor of the villain Ty-Zor, before Ratner dropped out of the project in March 2003, blaming casting delays,[157] and aggressive feuds with producer Jon Peters.[citation needed]
McG returned as director in 2003, while Fraser continued to express interest, but had fears of typecasting.[158] ESC Entertainment was hired for visual effects work, with Kim Libreri as visual effects supervisor and Stan Winston designing a certain "prototype suit".[159] McG approached Shia LaBeouf for Jimmy Olsen, with an interest to cast an unknown for Superman, Scarlett Johansson as Lois Lane and Johnny Depp for Lex Luthor.[160] Robert Downey Jr. was soon afterward cast as Lex Luthor.[161] Neal H. Moritz and Gilbert Adler were set to produce the film. McG also commissioned Josh Schwartz to rewrite the Abrams script. He also shot test footage with several candidates, including Jason Behr, Henry Cavill, Jared Padalecki,[144] and Michael Cassidy.[162] McG left the project soon afterward, blaming budgetary concerns and disagreement over filming locations. He opted to shoot in New York City and Canada, but Warner Bros. wanted Sydney, Australia, which would have cost $25 million less. McG released a statement saying that he felt "it was inappropriate to try to capture the heart of America on another continent".[163] He eventually admitted in a 2012 interview that his fear of flying was the real reason for his objection to Australia.[161] Abrams lobbied for the chance to direct his script,[164] but Warner Bros. replaced McG with Bryan Singer in July 2004, resulting in Superman Returns, that was released in 2006.[165]
In August 2013, Geoff Johns mentioned that Warner Bros. was considering turning unproduced scripts and screenplays into original animated films and had expressed interest in making an animated adaptation of the "Flyby" screenplay.[166]
Superman Returns sequel (2008–2009)
[edit]Four months before the release of Superman Returns, Warner Bros. announced a summer 2009 theatrical release date for a sequel, with Bryan Singer returning as director,[167] along with Brandon Routh,[168] Kevin Spacey,[169] Kate Bosworth,[170] Sam Huntington,[171] Frank Langella,[172] and Tristan Lake Leabu expected to reprise their roles.[173]
After the release of Superman Returns in July 2006, the studio was hesitant on moving forward with development. Warner Brothers President Alan F. Horn explained that Superman Returns was a successful film, but that it "should have done $500 million worldwide" and that the film could have featured more action for the young male audience.[174] Singer was critical to the studio complaints, and considered that the film was financially successful enough to guarantee a sequel.[175]
Filming was supposed to start in March 2008.[176] While no screenplay was ever written, Singer would have titled it Man of Steel, stressing that it would have been more action-packed than Superman Returns.[177]
Though Singer had an interest in Darkseid as the main villain, writer Michael Dougherty was interested in using Brainiac for the proposed sequel:
In my mind, if the Kryptonians really were a space-faring race ... it would only make sense that there would've been colonies and off-planet missions ... other Kryptonians making their way to Earth seemed like a pretty big one. It wouldn't necessarily be evil right off the bat. That's too easy and cliché ... I think it'd be interesting to see how these other Kryptonians show up, land and have all these powers and [have to learn] how to adapt to them.[178]
In February 2007, the studio commissioned husband and wife duo Michele and Kieran Mulroney to write a script for a Justice League film,[179] halting development for the Superman Returns sequel. The Justice League script was submitted to Warner Bros. the following June,[180] which prompted the studio to immediately fast-track production of what was to be titled Justice League: Mortal. As Singer went on to film Valkyrie (2008) the next month,[177] George Miller signed to direct in September.[181]
The script would have featured a different Superman in a separate continuity from Singer's film; Routh was not approached to reprise his role for Justice League: Mortal,[182] which ended up going to D. J. Cotrona.[183] The film nearly went into production in March 2008,[184] but the Australian Film Commission denied Warner Brothers their 40% tax rebate[185] and Cotrona's options eventually expired.[186] With Justice League: Mortal canceled, Singer renewed his interest in the Superman Returns sequel that same month, stating that it was in early development.[175] Paul Levitz, president of DC Comics, still expected the title role to be reprised by Routh,[168] whose contract for a sequel expired in 2009.[187]
In August 2008, the studio's President of Production Jeff Robinov admitted:
Superman Returns didn't quite work as a film in the way that we wanted it to.… It didn't position the character the way he needed to be positioned.… Had Superman worked in 2006, we would have had a movie for Christmas of this year or 2009. Now the plan is just to reintroduce Superman without regard to a Batman and Superman movie at all.[36]
Routh later reprised his role as Superman in the 2019 Arrowverse television crossover "Crisis on Infinite Earths".
Justice League: Mortal (2009)
[edit]In February 2007, during pre-production for The Dark Knight, Warner Bros. hired husband and wife screenwriting duo Michelle and Kieran Mulroney to script a Justice League film[188] featuring a younger Batman in a separate franchise.[189]
George Miller was hired to direct the following September,[183] with D. J. Cotrona cast as Superman,[183] along with Armie Hammer as Batman.[190] Filming had nearly commenced at Fox Studios Australia in Sydney, but was pushed back over the Writers Guild of America strike, and once more when the Australian Film Commission denied Warner Bros. a 45 percent tax rebate over lack of Australian actors in the film.[191] Production offices were moved to Vancouver Film Studios in Canada for an expected July 2008 start and a planned summer 2009 theatrical release date,[192][193] but Warner Bros. ultimately canceled Justice League following the success of The Dark Knight. Hammer's option on his contract lapsed and the studio was more willing to proceed with Christopher Nolan to finish his trilogy separately with The Dark Knight Rises.[194]
Man of Steel sequel (2014–2022)
[edit]Warner Bros. Pictures announced release dates for a full slate of DC Comics-based films in October 2014, forming a new shared universe known as the DC Extended Universe (DCEU). At the same time, the company said that an un-dated Superman film was in development, with Henry Cavill set to reprise his role of Clark Kent / Superman from Man of Steel (2013).[195] Warner Bros. chose to prioritize Batman v Superman: Dawn of Justice (2016) as the second DCEU film after Man of Steel failed to meet the company's financial expectations, despite turning a profit. Director Zack Snyder said that Brainiac and the Kryptonians imprisoned in the Phantom Zone were considered as antagonists for the Man of Steel sequel before Warner Bros. decided to proceed with Batman v Superman.[196] A sequel to Man of Steel entered active development in August 2016, and the studio wanted to get the character right for audiences.[197] Henry Cavill and Amy Adams were expected to reprise the roles in the sequel.[198][199] Matthew Vaughn was Warner Bros.' top choice to direct the film, and he had preliminary conversations about the project by March 2017.[200] Vaughn had previously pitched an idea for a new Superman trilogy with comic book writer Mark Millar, prior to the development of Man of Steel, in which the destruction of the planet Krypton would not take place until after Superman had already grown-up on the planet.[201] After the troubled production of the DCEU film Justice League (2017), Warner Bros. re-thought its approach to DC projects.[202] By the end of 2017, a Man of Steel sequel was not coming "anytime soon, if at all". Justice League producer Charles Roven said that the story ideas for the film had been discussed, but there was no script.[203]
Before the release of Mission: Impossible – Fallout in July 2018, director Christopher McQuarrie and co-star Cavill pitched their take on a new Superman film, but Warner Bros. did not pursue the idea.[204] Later that year, the studio asked James Gunn to write and direct a Superman film, but he chose to make The Suicide Squad (2021) instead;[205][206] Gunn was uncertain if he wanted to take on Superman, so Warner Bros. told him that he could adapt any DC property he liked.[205] In September, negotiations for Cavill to reprise his role for a cameo appearance in Shazam! (2019) ended due to contract issues,[207] as well as a scheduling conflict with Cavill's Fallout commitments.[207][208] The actor was reported to be parting ways with the studio, with no plans for him to reprise his role in future projects,[207] but, in November 2019, Cavill said that he had not given up on the character and still wanted to do the role justice.[208] At that time, Warner Bros. was unsure which direction to take the character and was talking to "high-profile talent" about the property, including J. J. Abrams—whose company Bad Robot signed an overall deal with Warner Bros.' parent company WarnerMedia—and Michael B. Jordan, who pitched himself as a Black version of the character.[53] By May 2020, Warner Bros. was no longer developing a Man of Steel sequel, but Cavill was in talks to appear in a different future DC film.[209][210]
In October 2022, Warner Bros. re-entered the development of a sequel to Man of Steel with Roven serving as a producer and Michael Bay in talks to Direct and Cavill expected to reprise his role. The studio was searching for writers by then, and had a wishlist of directors that included McQuarrie, who reportedly had not been contacted and could be unable to direct due to his commitments to Mission: Impossible – Dead Reckoning Part One (2023) and Mission: Impossible – The Final Reckoning (2025). Cavill appeared that month in his role in the post-credits scene of the DCEU film Black Adam (2022).[211] Cavill was revealed to have signed a one-off deal for Black Adam, though Warner Bros. was interested in having him return for future projects including another solo film,[212] though there was only a verbal agreement on this.[213] Shortly after, Warner Bros. announced that Cavill would return as Superman for future projects,[213][214] and the actor said his Black Adam cameo was meant to be a starting point for future plans for the character.[214][215] Steven Knight had written a script treatment around that time,[216] which reportedly included Brainiac as the antagonist.[213] Warner Bros. executives were not thrilled about it and provided notes on it, and another writer was potentially hired due to Knight's busy schedule soon after.[216] Andy Muschietti, who had directed The Flash (2023) for the studios, had expressed interest in directing a Superman project with a similar tone to Richard Donner's Superman (1978).[217] Cavill had been paid $250,000 for each of his cameos in Black Adam and The Flash before the latter appearance was cut.[213]
Cavill expressed interest in November for a future project to explore Superman's "capacity to give and to love" the people of Earth and to inspire others,[218] and said he was looking forward to meet with James Gunn, who was then-recently appointed as the co-chairman and co-CEO of the newly formed DC Studios alongside Peter Safran, and was excited about future opportunities to work together.[219] The project however was not moving forward quickly as Gunn and Safran were preparing their long-term plans for a DC shared universe, and Cavill did not sign a formal deal to return and no writer or director were attached.[220] By December a Man of Steel sequel with Cavill was canceled as Gunn and Safran made plans with Warner Bros. Discovery CEO David Zaslav. The pair began development on a new film that would focus on a younger version of the character as a rising reporter in Metropolis interacting with key characters from his supporting cast such as Lois Lane.[217][216][71] The film, titled Superman, released in July 2025 as the debut film of the new DC Universe (DCU) franchise with actor David Corenswet succeeding Cavill as Clark Kent / Superman.[221]
Black-led Superman film (2021–2022)
[edit]In February 2021, Ta-Nehisi Coates was revealed to be writing a new Superman film for the DCEU that was in early development. J. J. Abrams was set as producer alongside Hannah Minghella, with no director or actors attached to the project yet.[222] The film was expected to feature a Black actor portraying Superman, with potential for Michael B. Jordan to still take on the role after previously pitching himself as a Black version of the character.[223] Coates said he was looking forward to "meaningfully adding to the legacy of America's most iconic mythic hero", while Abrams said the film would tell a "new, powerful and moving Superman story".[222] This was reported by outlets as being a reboot of the franchise, but Richard Newby of The Hollywood Reporter felt the film starring a Black actor could indicate a new version of Superman that could exist alongside Cavill's portrayal within the DC Multiverse. Newby also noted that Coates' history as a non-fiction author and journalist focusing on African-American issues would give him "the insight and experience to delve further into the [Superman] mythos in a way never seen on screen".[224]
Jordan said at the end of April that suggestions he star in the film were a compliment, but he would not be signing on to the role. The studio was in the early process of finding a director for the film at that point, and had committed to hiring a Black filmmaker for the project. They had met with potential directors by early May, working from a list that included Steven Caple Jr., J. D. Dillard, Regina King, and Shaka King;[225] Dillard later said that he had not been approached for the film.[226] Coates was not expected to deliver his script for the film until mid-December, and was believed to be introducing a new version of Kal-El / Superman in what was potentially a Civil Rights era-period piece. The film was believed to be set in a separate universe from the DCEU at that point.[225] In July, Jordan's reasoning for distancing himself from the film was reported to be due to the decision to portray Kal-El as Black rather than introduce a different Superman character that is already portrayed as Black in the comics such as Calvin Ellis or Val-Zod. This was seen by some as racebending a White character while "erasing" existing Black characters, a conversation that Jordan did not want to engage in.[227] Instead, he began developing a limited series for HBO Max focused on the Val-Zod version of the character.[228] In October 2022, Abrams and Coates' film was revealed to be set in a separate continuity from other DC franchises, similar to Joker (2019).[211] The film remained in active development by December under the then-recently formed DC Studios when its co-chairman and co-CEO James Gunn announced that he was writing a new Superman film, which would eventually become Superman (2025).[72] In July 2025, The Wall Street Journal reported that shortly after the formation of Warner Bros. Discovery in 2022, CEO David Zaslav cancelled the project, saying the script was "too woke"; however people familiar with the matter stated that Gunn and other co-CEO Peter Safran could still attempt to make the film in the future.[229][230]
Recurring cast and characters
[edit]This section includes characters who will appear or have appeared in multiple film series that featured Superman.
- An empty grey cell indicates the character was not in the film, or that the character's official presence has not yet been confirmed.
- A indicates an appearance through archival footage or audio.
- C indicates a cameo role.
- O indicates an older version of the character.
- P indicates an appearance in onscreen photographs.
- S indicates an appearance through use of special effects.
- U indicates an uncredited appearance.
- V indicates a voice-only role.
- Y indicates a younger version of the character.
- ^ Snyder was the director during principal photography, but was replaced by Joss Whedon during post-production. Snyder retained directorial credit for the finished film,[2] though reports have indicated Whedon reshot a majority of the film. Consequently, Snyder released a director's cut in 2021.[3]
- ^ Additionally, Lee Quigley, and Elizabeth Sweetman portray a young Kal-El at different ages in Superman (1978).
- ^ Additionally, Dylan Sprayberry and Cooper Timberline portray a young Kal-El at different ages in Man of Steel, Ryan Hadley serves as a stand-in for the character in Shazam! (2019), and Nicolas Cage portrays a Superman from an alternate universe in The Flash.
- ^ This version of the character is that seen in Superman and the Mole Men.
- ^ This version of the character is that seen in the Salkind series.
- ^ This incarnation of Jonathan Kent is known as "Eben".
- ^ This version of the character is that seen in the Supergirl film.
Reception
[edit]Box office performance
[edit]| Film | Release date | Box office gross | Ref(s) | |||
|---|---|---|---|---|---|---|
| North America | Other territories |
North America | Other territories |
Worldwide | ||
| Superman (1978) | December 15, 1978
|
$134,451,603 | $166,000,000 | $300,218,018 | [251] | |
| Superman II | June 19, 1981 | December 4, 1980 | $108,185,706 | $108,200,000 | $216,385,706 | [252][253] |
| Superman III | June 17, 1983
|
$59,950,623 | $20,300,000 | $80,250,623 | [253][254] | |
| Supergirl | November 21, 1984 | July 19, 1984 | $14,296,438 | — | $14,296,438 | [255] |
| Superman IV: The Quest for Peace | July 24, 1987
|
$15,681,020 | $14,600,000 | $30,281,020 | [256] | |
| Superman Returns | June 28, 2006
|
$200,081,192 | $191,000,000 | $391,081,192 | [257] | |
| Man of Steel | June 14, 2013
|
$291,045,518 | $379,100,000 | $670,145,518 | [258] | |
| Batman v Superman: Dawn of Justice | March 25, 2016
|
$330,360,194 | $544,000,000 | $874,360,194 | [259] | |
| Justice League | November 17, 2017
|
$229,024,295 | $432,302,692 | $661,326,987 | [260] | |
| Superman (2025) | July 11, 2025
|
$354,184,465 | $261,800,000 | $615,984,465 | [261][262] | |
| Total | $1,737,261,054 | $2,113,400,000 | $3,850,507,495 | [263] | ||
Critical and public response
[edit]| Film | Rotten Tomatoes | Metacritic | CinemaScore |
|---|---|---|---|
| Superman (1978) | 88% (122 reviews)[264] | 82 (21 reviews)[265] | — |
| Superman II | 88% (113 reviews)[266] | 83 (16 reviews)[267] | A+[268] |
| Superman III | 31% (103 reviews)[269] | 44 (15 reviews)[270] | B−[271] |
| Supergirl | 19% (118 reviews)[272] | 41 (13 reviews)[273] | C+[274] |
| Superman IV: The Quest for Peace | 15% (116 reviews)[275] | 24 (18 reviews)[276] | C[277] |
| Superman Returns | 72% (290 reviews)[278] | 72 (40 reviews)[279] | B+[277] |
| Man of Steel | 57% (340 reviews)[280] | 55 (47 reviews)[281] | A−[277] |
| Batman v Superman: Dawn of Justice | 28% (436 reviews)[282] | 44 (51 reviews)[283] | B[277] |
| Justice League | 39% (411 reviews)[284] | 45 (52 reviews)[285] | B+[277] |
| Zack Snyder's Justice League | 71% (313 reviews)[286] | 54 (46 reviews)[287] | — |
| Superman (2025) | 83% (494 reviews)[288] | 68 (58 reviews)[289] | A−[277] |
Home media
[edit]Collections
[edit]The initial four Superman films starring Christopher Reeve were released previously on VHS, and throughout the film series' history, three box sets of the films have been released by Warner Bros. The first occurred on May 1, 2001, when The Complete Superman Collection was released both on DVD and VHS, containing that year's DVD/home video releases of Superman, II, III, and IV: The Quest for Peace. The set was valued at US$49.99 for the DVD release and US$29.99 for the VHS release, and received positive reviews.[290]
The four Christopher Reeve films were again released on November 28, 2006, in new DVD releases to coincide with Superman Returns, also released in that year. Superman (1978) was released in a four-disc 'special edition' similar to Superman II, which was released in a two-disc special edition. Both Superman III and IV were released in single disc 'deluxe editions', and all four releases were available together in The Christopher Reeve Superman Collection, an 8-disc set that was valued at US$79.92 and received positive reviews (like the 2001 set before it).[291]
Also on November 28, 2006, a 14-disc DVD box set titled Superman Ultimate Collector's Edition was released, containing the four Reeve films, along with Superman II: The Richard Donner Cut, Superman Returns, and Look, Up in the Sky: The Amazing Story of Superman, among other releases. All contents of the set were housed within a tin case. The set was valued at US$99.92, and received extremely positive reviews when first released.[292] After only a day on the market, however, Warner Bros. announced that there were two errors discovered within the set: the first was that the 2.0 audio track on Superman, was instead the 5.1 audio track already on the disc; and the second was that the Superman III disc was not the 2006 deluxe edition as advertised, but the 2001 release instead. The set was soon recalled, and Warner Bros offered a toll-free number to replace the faulty discs for people who had already purchased the set.[293] Due to popular demand, a corrected set was released and Superman Ultimate Collector's Edition returned to store shelves on May 29, 2007.[294]
Another Christopher Reeve Superman film collection was released on October 14, 2008, entitled Superman: 4 Film Favorites, containing all four films, but with far less bonus material than previous sets. The collection was a 2-disc DVD-18 set that included the first disc of both special editions from the 2006 release and both deluxe editions.
The entire Superman anthology was released on Blu-ray for the first time on June 7, 2011.[295]
All of the Christopher Reeve Superman films were released on Ultra HD Blu-ray in 2023.[296]
See also
[edit]- Superman curse — a series of supposedly related incidents, sometimes fatal, that have affected many associated in producing Superman in film and animation
- Superman franchise media
- Batman in film
- Steel (1997)
- Hollywoodland (2006) — a mystery drama film that presents a fictionalized account of the circumstances surrounding the death of actor George Reeves, the star of the 1950s television series Adventures of Superman.
- Brightburn (2019) — a superhero horror film that adapts the concept of Superman for explicit horror. It follows Brandon Breyer, a young boy of extraterrestrial origin reared on Earth who discovers he has superpowers, using them with dark intentions.
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Bibliography
[edit]- Rossen, Jake (2008). Superman vs. Hollywood: How Fiendish Producers, Devious Directors, and Warring Writers Grounded an American Icon. Chicago Review Press. ISBN 978-1-55652-731-9.
- Scivally, Bruce (2008). Superman On Film: Film, Television, Radio And Broadway. McFarland & Company. ISBN 978-0-7864-3166-3.
- Tye, Larry (2013). Superman: The High-Flying History of America's Most Enduring Hero. Random House Trade Paperbacks. ISBN 978-0-8129-8077-6.
- Weldon, Glen (2013). Superman: The Unauthorized Biography. Wiley. ISBN 978-1-118-34184-1.
Superman in film
View on GrokipediaAnimated films
Early theatrical shorts (1941–1943)
The Superman animated shorts marked the character's cinematic debut, with Paramount Pictures commissioning Fleischer Studios to produce a series of 17 Technicolor theatrical releases between 1941 and 1943.[9] The initial nine episodes, directed by Max Fleischer, were completed from July 1941 to May 1942, showcasing the studio's innovative approach to adapting the DC Comics superhero for animation.[10] Due to internal studio challenges and a transition in ownership, Famous Studios—a successor entity formed by Paramount—took over production for the remaining eight shorts, released through July 1943, maintaining continuity in style while adapting to wartime themes.[9] Standout episodes highlighted Superman's battles against extraordinary threats, establishing his heroic archetype in motion. In "The Mechanical Monsters" (November 1941), directed by Dave Fleischer, Superman confronts a rampaging giant robot unleashed by a mad inventor, featuring dynamic destruction sequences that captivated audiences.[10] "The Arctic Giant" (1942), the ninth and final Fleischer short, depicts Superman thawing and combating a massive prehistoric dinosaur in a frozen wilderness, emphasizing his superhuman strength and speed.[9] The series concluded with Famous Studios' "Destruction Inc." (1943), where Superman thwarts saboteurs plotting to cripple American industry during World War II, blending action with patriotic undertones.[9] Animation techniques in these shorts pushed the boundaries of the medium, employing rotoscoping—pioneered by Max Fleischer—to trace live-action footage for fluid, realistic human movements, particularly in Superman's acrobatic feats.[10] Flight sequences were groundbreaking, achieved through meticulous cel animation and the studio's stereo-optical process, which used miniature models on rotating turntables to create depth and perspective in three-dimensional environments.[11] Voiced by Bud Collyer as the dual roles of Superman and Clark Kent, with Joan Alexander as the intrepid Lois Lane, the shorts featured expressive performances that brought the characters to life, supported by Jackson Beck's booming narration.[10] Each short ran approximately 8 to 10 minutes, designed for theatrical exhibition as supporting features alongside live-action films in over 7,000 theaters nationwide.[10] The production budget reflected the high ambitions, starting at $50,000 for the pilot episode "Superman" (also known as "The Mad Scientist"), with the remaining 16 shorts at $30,000 each, totaling $530,000 for the series—unprecedented for animation at the time.[10] These shorts exerted significant cultural influence, embedding Superman in popular consciousness while incorporating World War II propaganda elements; later episodes like "Japoteurs" (1942) and "Secret Agent" (1943) portrayed the hero combating Axis-inspired villains, reinforcing American resilience and boosting morale during the conflict.[12] Their sophisticated visuals and narrative focus on heroism inspired subsequent superhero animations and laid foundational elements for the genre's cinematic evolution.[9]Direct-to-video and TV specials (1980s–present)
The direct-to-video and TV specials featuring Superman in animation from the 1980s onward have provided platforms for exploring the character's origins, crossovers, and deeper thematic elements outside theatrical releases. These productions, often produced by Warner Bros. Animation, have been distributed primarily through Warner Home Video, allowing for home viewing and later digital platforms. With budgets typically averaging $3.5 million per film, they emphasize high-quality animation and voice performances while adapting comic book stories or original narratives.[13] In the DC Animated Universe (DCAU), Superman's appearances in compiled TV movies highlighted his early adventures and alliances. "Superman: The Last Son of Krypton" (1996) served as a direct-to-video release compiling the first three episodes of Superman: The Animated Series, retelling Clark Kent's origin from Krypton's destruction to his emergence as Earth's protector, voiced by Tim Daly as Superman.[14] This 64-minute special emphasized themes of destiny and heroism, drawing from classic Superman lore. Following this, "The Batman/Superman Movie: World's Finest" (1997), another compilation from Superman: The Animated Series episodes, depicted the first meeting between Superman (Tim Daly) and Batman (Kevin Conroy) as they thwarted a Joker-Lex Luthor alliance involving kryptonite.[15] The crossover explored contrasting heroic philosophies, with Superman's optimism clashing against Batman's pragmatism, and was released on VHS and later DVD by Warner Home Video. The DC Animated Original Movies (AOM) line, starting in 2007, offered standalone Superman-focused stories that delved into moral and existential challenges. "Superman: Brainiac Attacks" (2006), an original narrative voiced by Tim Daly, pitted Superman against the villain Brainiac in a story blending action with emotional depth. The line proper began with "Superman: Doomsday" (2007), the first in the DC Universe Animated Original Movies, adapting the comic event where Superman battles the monster Doomsday to his apparent death, voiced by Adam Baldwin, emphasizing sacrifice and legacy. Subsequent entries included "Superman/Batman: Public Enemies" (2009) and "Superman/Batman: Apocalypse" (2010), both featuring Superman (Tim Daly in the first, George Newbern in the second) alongside Batman against threats like Metallo and Supergirl's Darkseid involvement, exploring teamwork and Kryptonian heritage. "All-Star Superman" (2011), adapted from Grant Morrison's comic series, followed Superman (voiced by James Denton) as he confronted mortality after solar overexposure, granting him enhanced powers but a limited lifespan; the film highlighted themes of legacy and self-sacrifice.[16] Similarly, "Superman vs. The Elite" (2012), with George Newbern voicing Superman, adapted Joe Kelly's comic to examine ethical dilemmas when Superman faces a vigilante team willing to kill for justice, forcing him to reaffirm non-lethal heroism amid public doubt in his invulnerability. "Superman: Unbound" (2013), featuring Matt Bomer as Superman, adapted the "Superman/Batman: Man of Steel" arc with a Brainiac storyline, portraying the villain's collection of cities including Kandor and testing Superman's emotional ties to his heritage. Later releases included "Superman: Red Son" (2020), an alternate history where Superman grows up in the Soviet Union, voiced by Jason Isaacs, probing ideological conflicts; and "Superman: Man of Tomorrow" (2020), a modern origin tale with Darren Criss as Superman, focusing on his early days in Metropolis. "Batman and Superman: Battle of the Super Sons" (2022) depicted the sons of Batman and Superman teaming up against a global threat, with Jack Quaid voicing Jonathan Kent as Superboy. "Legion of Super-Heroes" (2023), set in the 31st century, featured Superman (voiced by Evan McGuire) training with the Legion against Brainiac 5's schemes, blending time-travel and future heroism. Later AOM entries intensified explorations of Superman's physical and psychological vulnerabilities. The duology "The Death of Superman" (2018) and "Reign of the Supermen" (2019), part of the DC Animated Movie Universe, adapted the iconic 1992-1993 comic event where Superman (Jerry O’Connell) battles Doomsday to the death, followed by the rise of replacements like Superboy and Steel; these films underscored his sacrificial role and the world's dependence on him, with production emphasizing intense action sequences. Elements from Alan Moore's "Whatever Happened to the Man of Tomorrow?" influenced thematic undertones in these works, portraying Superman's potential end as a confrontation with ultimate vulnerabilities, blending god-like power with human frailty. Other TV specials from the era included commemorative and compilation releases. The "Superman 50th Anniversary" (1988) was a CBS television special blending live-action interviews with animated segments to celebrate the character's history, featuring voices and appearances that paid homage to his enduring icon status.[17] Additionally, 1980s VHS re-releases by Warner Home Video compiled episodes from the 1960s The Superman/Aquaman Hour of Adventure, repackaging the Filmation series' Superman segments for new audiences and focusing on his aquatic and super-team adventures. These specials, while shorter in format, reinforced Superman's foundational role in animation.Lego and parody animations (2000s–present)
The Lego DC Comics Super Heroes series, produced by Warner Bros. Animation in partnership with The Lego Group, features Superman as a prominent member of the Justice League in a series of direct-to-video animated films beginning in the early 2010s. These lighthearted entries emphasize team-up adventures with a focus on humor and action tailored for family audiences. Superman makes a cameo appearance in the 2013 film Lego Batman: The Movie – DC Super Heroes Unite, where he assists Batman and other heroes against Lex Luthor's schemes. Subsequent films expand Superman's role in ensemble stories. In Lego DC Comics Super Heroes: Justice League vs. Bizarro League (2015), Superman leads the Justice League in confronting their imperfect clones created by Lex Luthor, ultimately allying with the Bizarro versions to defeat Darkseid.[18] Lego DC Super Heroes: Justice League – Attack of the Legion of Doom! (2015) sees Superman and his allies racing to stop the Legion of Doom's plot to unleash a cosmic monster, highlighting his leadership and superhuman feats in a comedic context. The series culminates in Lego DC Super Heroes: Justice League – Cosmic Clash (2016), where Superman helps assemble a new team to battle Starro and other threats from space, blending high-stakes action with playful banter. Superman also appears in broader parody animations that satirize his iconic status. In The Lego Movie (2014), he makes a brief appearance as part of the Master Builders, poking fun at his stoic heroism amid the film's meta-narrative on creativity and conformity. Teen Titans Go! To the Movies (2018) features a satirical portrayal of Superman voiced by Nicolas Cage, exaggerating his near-casting in a 1990s live-action film and his rivalry with other heroes in a self-aware comedy about Hollywood superhero tropes.[19] In Space Jam: A New Legacy (2021), an animated Superman cameo occurs during a sequence in Metropolis, where he intervenes to save the day from a runaway train caused by Looney Tunes antics, underscoring his role as the ultimate protector in a basketball-themed multiverse adventure.[20] Produced under Warner Bros. Animation's collaboration with The Lego Group, these films utilize digital animation to replicate the blocky, buildable aesthetic of Lego bricks, with budgets typically ranging from $2 million to $4 million for direct-to-video releases. Superman is consistently voiced by Travis Willingham across the Lego DC projects, delivering a portrayal that echoes Christopher Reeve's classic earnestness while infusing humor through exaggerated optimism.[21] The animations target family viewers by twisting Superman's traditional invincibility—such as depicting him disassembling like Lego pieces under impact or comically struggling with everyday mishaps— to emphasize themes of resilience and teamwork over solo heroism.Kirk Alyn serials (1948–1950)
The first live-action adaptation of Superman arrived with the 1948 Columbia Pictures serial Superman, a 15-chapter production directed by Spencer G. Bennet and Thomas Carr. Kirk Alyn starred in the dual role of Clark Kent and Superman, with Noel Neill as Lois Lane, Tommy Bond as Jimmy Olsen, and Pierre Watkin as Perry White. Carol Forman portrayed the villainess known as the Spider Lady. The story follows Superman's origin, from his arrival on Earth as a baby from the exploding planet Krypton to his upbringing by the Kent family and his career at the Daily Planet in Metropolis. The plot centers on the Spider Lady's scheme to steal a secret government weapon—a powerful vibrating ray capable of causing earthquakes and destruction—leading to a series of chases, rescues, and battles across the chapters. Produced on a modest budget, the serial relied on innovative wirework and animation for Superman's flying sequences, establishing key elements like his Fortress of Solitude and Kryptonian heritage. It was a commercial success, popularizing the character in cinemas and paving the way for further adaptations.[3][22] Alyn reprised his role in the follow-up serial Atom Man vs. Superman (1950), also a 15-chapter production directed by Spencer G. Bennet. Noel Neill, Tommy Bond, and Pierre Watkin returned in their respective roles, maintaining cast continuity. The serial introduced Lyle Talbot as Lex Luthor, operating under the alias Atom Man, marking the character's first live-action appearance.[23] Building on the 1948 serial, production for Atom Man vs. Superman incorporated reused footage from its predecessor to control costs, a standard practice in era serials. Special effects showed slight advancements, with more dynamic animation for flights and practical effects like disintegrator rays, though budget limitations persisted. The narrative focused on Luthor's plot to blackmail and destroy Metropolis using atomic energy weapons, including a disintegrating machine that atomizes victims and a teleportation device to a parallel dimension called "Empty Space" (the Empty Doom). Key action included confrontations with a massive atomic bomb threat, shrunken-size battles, and exploitation of Superman's vulnerability via synthetic Kryptonite, ending in climactic rescues and pursuits.[24][23] As the last theatrical Superman serial before television took over, Atom Man vs. Superman exemplified the chapterplay genre's mix of action, cliffhangers, and heroic morals. Alyn's athletic, sincere performance as Superman, highlighting physical prowess and moral steadfastness, influenced later live-action portrayals, including the upcoming TV series.[25]First live-action feature (1951)
Superman and the Mole Men
Superman and the Mole Men is a 1951 American superhero film produced by Barney A. Sarecky and directed by Lee Sholem, marking the first standalone live-action feature film centered on the character Superman.[26] Released by Lippert Pictures, the low-budget production had an estimated cost of $275,000 and a runtime of 58 minutes.[26] It stars George Reeves as Superman/Clark Kent and Phyllis Coates as Lois Lane, with the screenplay credited to Robert Maxwell and Whitney Ellsworth under the pseudonym Richard Fielding.[27] Filmed in black and white at RKO-Pathé Studios over 12 days starting in July 1951, the movie served as a test pilot for what would become the television series Adventures of Superman.[28] The plot follows Daily Planet reporters Clark Kent and Lois Lane as they travel to the small town of Silsby to cover the opening of the world's deepest oil well.[29] The drilling disturbs a subterranean race of pale, humanoid "Mole Men" who emerge to the surface, appearing to glow in the dark and sparking fear and hysteria among the townsfolk.[29] Led by the xenophobic Luke Benson, a mob forms to hunt the creatures, but Superman intervenes to protect them, revealing their peaceful nature and confronting the prejudice driving the violence.[30] The story explores themes of intolerance and fear of the unknown, drawing parallels to post-World War II social anxieties about outsiders and minorities.[31] Reeves' portrayal of Superman builds directly on his established role from the concurrent Adventures of Superman TV series, emphasizing a calm, authoritative hero who prioritizes reason over force.[32] Coates brings a determined edge to Lois Lane, often pushing boundaries in her reporting.[32] The film's style reflects its B-movie origins, with practical effects including bulky, fur-lined suits for the Mole Men that were innovative for the era's limited budget, though rudimentary by modern standards.[26] Cinematography by Ernest Miller employs straightforward shots, including wire work for Superman's flights, to maintain a grounded, episodic feel akin to serial adventures.[26] The film premiered in theaters on November 6, 1951, and achieved modest box office success as a second-feature attraction, grossing enough to justify expanding the concept into a full TV series that debuted in 1952.[33] Its positive reception, particularly for addressing social issues through superhero action, helped solidify Superman's viability in live-action television.[30] Superman and the Mole Men was later edited into two episodes titled "The Unknown People" for the TV series and received its first home video release on VHS by Warner Home Video in 1987, preserving its status as a foundational entry in Superman's cinematic history.[29]Christopher Reeve era (1978–1987)
Superman (1978)
Superman (1978), directed by Richard Donner, marked the first major live-action feature film adaptation of the iconic DC Comics character, produced by Alexander and Ilya Salkind, who had secured the rights in the early 1970s with ambitions to create a blockbuster spectacle. The screenplay originated from a story by Mario Puzo, known for The Godfather, who was hired in 1975 for $350,000 plus five percent of profits; it was subsequently rewritten by David Newman, Leslie Newman, and Robert Benton, with Tom Mankiewicz serving as creative consultant to infuse authenticity from the comics. The production boasted an unprecedented budget of $55 million—the highest for any film at the time—reflecting the Salkinds' commitment to high-profile talent, including Oscar-winner Marlon Brando cast as Jor-El, Superman's Kryptonian father, for $3.7 million and 11.75% of the gross despite appearing in less than 20 minutes of screen time. Filming began in 1977 across England, Canada, and the United States, facing challenges like script rewrites and Brando's on-set improvisations, which Donner navigated to maintain the film's epic tone. Casting emphasized a mix of established stars and fresh faces to humanize the superhero mythos. Christopher Reeve, a relatively unknown Juilliard-trained actor with limited film credits, was selected as Superman/Clark Kent after over 200 auditions; recommended by casting director Lynn Stalmaster and spotted by Donner in an off-Broadway play, Reeve underwent a physical transformation from 160 to 212 pounds to embody both the awkward reporter and the heroic Man of Steel. Margot Kidder was chosen as Lois Lane for her spirited portrayal, beating out dozens of contenders in screen tests that highlighted her chemistry with Reeve, while Gene Hackman, an Academy Award winner, brought wry menace to Lex Luthor after initial reluctance, insisting on keeping his hair despite the character's traditional baldness. Supporting roles featured veterans like Glenn Ford as Jonathan Kent and Phyllis Thaxter as Martha Kent, rounding out the ensemble that grounded the fantastical narrative in emotional depth. The film faithfully adapts Superman's origin, depicting the destruction of Krypton, baby Kal-El's journey to Earth, his upbringing in Smallville, and emergence as a hero in Metropolis, blending spectacle with heartfelt storytelling to establish the character's dual identity. John Williams' soaring orchestral score, recorded in July 1978, became instantly iconic, with its triumphant fanfare underscoring themes of hope and heroism, earning an Academy Award nomination for Best Original Score. Special effects, supervised by Roy Field and utilizing Zoran Perišić's innovative Zoptic front-projection system, convincingly depicted Superman's flight sequences—over 600 individual shots—convincing audiences through practical miniatures, blue-screen compositing, and wire work that a man could indeed fly, winning the film a Special Achievement Academy Award for Visual Effects. Released by Warner Bros. with a wide theatrical release in the United States on December 15, 1978, following its premiere on December 10, 1978, at the Kennedy Center in Washington, D.C., and premieres in London, the 143-minute film grossed over $300 million worldwide, becoming the second-highest-grossing film of 1978 behind Grease and setting a benchmark for superhero cinema with its famous tagline, "You'll Believe a Man Can Fly." This success directly influenced the production of its sequel, Superman II, by reusing footage and expanding the universe.Superman II (1980)
Superman II, the sequel to the 1978 film Superman, faced significant production hurdles when original director Richard Donner was dismissed in 1979 after completing about 75% of principal photography, primarily due to budget overruns and scheduling conflicts with producers Alexander and Ilya Salkind. Richard Lester, who had served as second-unit director on the first film, was brought in to complete the project and received sole directing credit after reshooting approximately 51% of the footage to align with the producers' vision. These reshoots, which began in August 1979 and wrapped by March 1980, incorporated new comedic elements and altered sequences, transforming much of Donner's more serious tone into a lighter, more humorous affair, while the total production budget reached $54 million.[34] The film's plot centers on Superman (Christopher Reeve), who, after falling in love with Lois Lane (Margot Kidder) following a near-death incident at Niagara Falls, voluntarily relinquishes his powers using a Kryptonian energy chamber provided by his father Jor-El (Marlon Brando in footage from the first film).[35] Meanwhile, three Kryptonian criminals—General Zod (Terence Stamp), Ursa (Sarah Douglas), and Non (Jack O'Halloran)—escape their Phantom Zone imprisonment and arrive on Earth, where they ally with Lex Luthor (Gene Hackman) to conquer the planet.[35] A key sequence features the villains testing their powers by dismantling and hurling the Eiffel Tower in Paris, showcasing their threat to humanity before Superman regains his abilities to confront them in epic battles across Metropolis and the Fortress of Solitude.[35] The film's visual effects and action sequences emphasized practical stunts and miniatures over optical compositing, with fight scenes relying on wire work, pyrotechnics, and choreographed impacts to convey superhuman clashes, such as the villains' rampage through a diner and the final Fortress showdown.[36] Lester's direction infused the narrative with campy humor, including sight gags like the powerless Clark Kent enduring physical comedy in a diner brawl and Luthor's bumbling schemes, contrasting Donner's earnest approach while maintaining the spectacle of Superman's heroism.[35] An alternate version restoring more of Donner's original footage, known as Superman II: The Richard Donner Cut, was released on home video in 2006, with a corrected 4K edition following in 2025. Superman II premiered internationally in Europe and Australia on December 4, 1980, followed by a UK release on April 9, 1981, and a U.S. debut on June 19, 1981, running 127 minutes in its theatrical cut.[37] The film was a commercial success, grossing over $190 million worldwide against its $54 million budget, though it received mixed critical reception for its tonal shifts compared to the first installment.[34]Superman III (1983)
Superman III marked a shift in the franchise under the direction of Richard Lester, who had previously completed Superman II after Richard Donner's departure. The screenplay was written by David Newman and Leslie Newman, focusing on a lighter narrative involving corporate intrigue and Superman's internal conflict. Produced by Pierre Spengler for Dovemead Limited, the film had a budget of $39 million. Annette O'Toole portrayed Lana Lang, Clark Kent's high school sweetheart, reintroducing elements of Superman's Smallville origins. The plot centers on Ross Webster, a ruthless businessman played by Robert Vaughn, and his associate Vera, portrayed by Annie Ross, who enlist unemployed computer whiz Gus Gorman (Richard Pryor) to develop a supercomputer for global domination. After Superman thwarts their scheme to manipulate the weather and destroy Colombia's coffee crop, Webster commissions synthetic kryptonite to corrupt the hero. Exposed to the substance, Superman develops a malevolent alter ego, leading to neglect of his heroic duties and a climactic confrontation where Clark Kent battles his darker self in a junkyard, ultimately restoring his moral compass. The film adopts a more comedic tone under Lester's guidance, emphasizing slapstick humor over the epic scope of prior entries, including sequences of physical comedy and satirical jabs at technology and corporate greed. A notable lighter moment features Christopher Reeve as Clark Kent inadvertently entering a photo booth during a chaotic high school reunion, highlighting his clumsy persona amid the festivities. This approach drew from Lester's style in films like A Hard Day's Night, prioritizing broad appeal through humor. Released on June 17, 1983, in the United States, the 125-minute film faced criticism for its visual effects, particularly noticeable blue-screen compositing in flying sequences and action set pieces, which lacked the seamless integration of the first two installments. This tonal pivot signaled a perceived decline in the series' quality, influencing the lighter yet troubled production of Superman IV.Supergirl (1984)
Supergirl is a 1984 superhero film directed by Jeannot Szwarc and produced by the Salkind Organization, the team behind the Christopher Reeve Superman films, serving as a spin-off set in the same universe.[38] The movie stars Helen Slater in her film debut as Kara Zor-El/Supergirl, with Faye Dunaway portraying the villainous sorceress Selena, Peter O'Toole as the Kryptonian mentor Zaltar, and Marc McClure reprising his role as Jimmy Olsen from the Superman series.[39] Produced on a budget of $35 million, the film ties into the established lore through its opening sequence in the Fortress of Solitude, where Superman is depicted as being away on a mission.[40] Screenwriter David Odell crafted the story to introduce Supergirl's origin while incorporating magical elements distinct from the science-based threats in the main series.[39] The plot follows Kara, a resident of the bottled city of Argo, who volunteers to retrieve the stolen Omegahedron—a powerful Kryptonian energy device inadvertently taken to Earth by Zaltar. Disguised as teenager Linda Lee, Kara enrolls at a boarding school and discovers the Omegahedron in the possession of Selena, who uses it to conjure a magical realm and seize control over a local businessman, Ethan.[41] As Supergirl, Kara battles Selena's minions and spells, including a love potion that unexpectedly draws Ethan to her civilian identity, while developing a romance with Jimmy Olsen. The narrative culminates in a confrontation where Supergirl restores the Omegahedron to Argo, saving her home and defeating Selena's ambitions.[41] Stylistically, the film adopts a lighter, more whimsical tone compared to the epic scope of the Reeve films, incorporating fantastical and romantic elements with occasional musical flourishes, such as the choreographed "flying ballet" sequence showcasing Supergirl's aerial abilities.[42] Special effects were handled by Derek Meddings, known for his work on the Superman series, who created intricate miniatures for the depiction of Argo City and other otherworldly environments, blending practical models with optical compositing for the era.[43] Jerry Goldsmith composed the score, emphasizing ethereal and adventurous motifs to complement the film's blend of superhero action and fairy-tale aesthetics.[39] Released by TriStar Pictures on November 21, 1984, in the United States, the 124-minute PG-rated film opened in 1,608 theaters and earned $5.7 million in its first weekend.[44] Despite initial box office success, it ultimately grossed $14.3 million domestically—less than half its budget—marking it as a commercial disappointment that contributed to the end of the Salkind-produced Superman series.[45] The underperformance was attributed to mixed reviews, competition from holiday releases, and audience fatigue with the franchise following Superman III.[46]Superman IV: The Quest for Peace (1987)
Superman IV: The Quest for Peace marked the fourth and final installment in the Christopher Reeve Superman series, produced by Cannon Films amid the company's escalating financial troubles. Initially budgeted at $36 million with plans for a 1986 start, production was slashed to $17 million after Cannon's bankruptcy proceedings, resulting in extensive script cuts and compromised visual effects.[47][48] Sidney J. Furie directed the film, which Reeve co-wrote the story for alongside Lawrence Konner and Mark Rosenthal, emphasizing anti-nuclear themes reflective of 1980s Cold War anxieties.[49] The plot centers on Superman's decision to eliminate all nuclear weapons from Earth following a plea from a concerned schoolboy, prompting global leaders to comply but alerting Lex Luthor (Gene Hackman) to exploit the situation. Luthor clones Superman's genetic material from a strand of hair, engineering Nuclear Man—a radiation-powered adversary—in a solar-amplified genetic chamber. Portrayed physically by Mark Pillow and voiced initially by Clive Mantle (whose scenes were largely reshot), Nuclear Man terrorizes humanity and clashes with Superman in battles spanning space and urban landscapes. The narrative culminates in Superman's victory, followed by him kissing Lois Lane (Margot Kidder) to erase her knowledge of his dual identity, restoring their status quo.[50] Critics lambasted the film's special effects, which suffered from the budget constraints, including visible wires during flight sequences and shoddy compositing that rendered action unconvincing and dated even for the era. Unlike the prior films, John Williams did not provide the score; Alexander Courage composed the music, weaving in select Williams motifs but lacking the orchestral grandeur that defined the series.[51][52][53] The film premiered on July 24, 1987, with a truncated 90-minute runtime after heavy editing, earning $17.1 million domestically against its diminished costs but failing commercially and critically, signaling the end of the Reeve era as plans for further sequels were abandoned.[54][48]Brandon Routh era (2006)
Superman Returns
Superman Returns is a 2006 superhero film directed by Bryan Singer, serving as a soft-reboot and loose sequel to the Christopher Reeve Superman films, particularly Superman (1978) and Superman II (1980), while disregarding the events of Superman III (1983) and Superman IV: The Quest for Peace (1987). The story is set five years after the events of Superman II, with the Man of Steel having left Earth to search for remnants of his home planet Krypton, only to return and find the world has moved on without him. Produced by Warner Bros. Pictures in association with Legendary Pictures, the film had a production budget of $270 million, making it one of the most expensive films at the time, with principal photography taking place primarily at Fox Studios Australia in Sydney from March to November 2005.[55][56] The cast featured newcomer Brandon Routh as Clark Kent/Superman, chosen for his physical resemblance to Reeve, alongside Kate Bosworth as Lois Lane, a Pulitzer-winning journalist now in a relationship with Richard White (James Marsden) and raising a young son, Jason (Tristan Lake Leabu). Kevin Spacey portrayed Lex Luthor, reprising the role's villainous charm originally embodied by Gene Hackman, with supporting roles filled by Frank Langella as Perry White, Parker Posey as Kitty Kowalski, and Eva Marie Saint as Martha Kent. The screenplay by Michael Dougherty and Dan Harris, based on a story by them and Singer, emphasized themes of faith, redemption, and Superman's enduring heroism, drawing visual and tonal inspiration from the Richard Donner-directed originals.[57][58] In the plot, Superman returns to a changed Metropolis, where Lois has largely moved on, only to face Luthor's scheme to create a new landmass off the U.S. coast using stolen Kryptonian crystals laced with Kryptonite, threatening global catastrophe. As Superman weakens from the mineral's proximity, he saves a crashing space shuttle and its attached plane in a tense sequence, while Lois and her family become entangled in Luthor's plot aboard a luxury yacht. The narrative culminates in a confrontation where Superman lifts an enormous Kryptonite-infused island into space, nearly dying in the process, and hints at Jason's potential superhuman abilities, such as telekinetically stopping a piano from falling on him. The film runs 154 minutes and explores Superman's vulnerability and the emotional toll of his absence.[59] Visual effects were handled by multiple studios, including Sony Pictures Imageworks for key sequences like the shuttle-plane rescue and Superman's flights, which utilized advanced CGI to achieve realistic aerial dynamics and a sense of weightlessness, earning the film an Academy Award nomination for Best Visual Effects. The score, composed by John Ottman, incorporates and expands upon John Williams' iconic themes from the 1978 film, blending orchestral grandeur with modern electronic elements to evoke nostalgia while supporting the story's operatic tone. Released on June 28, 2006, Superman Returns grossed $391 million worldwide against its high budget, achieving moderate box office success but receiving mixed critical reception for its deliberate pacing and stylistic choices, with a 72% approval rating on Rotten Tomatoes.[60][61][56]DC Extended Universe (2013–2023)
Man of Steel (2013)
Man of Steel is a 2013 superhero film directed by Zack Snyder, serving as the launch of the DC Extended Universe.[62] The screenplay was written by David S. Goyer from a story he co-developed with Christopher Nolan, while Hans Zimmer composed the score.[62] Produced by Warner Bros. Pictures in association with DC Entertainment, the film had a production budget of $225 million.[62] It reimagines Superman's origin story with a darker, more grounded tone compared to previous adaptations, emphasizing themes of identity, destiny, and heroism. The film stars Henry Cavill as Clark Kent / Kal-El (Superman), Amy Adams as Lois Lane, Michael Shannon as General Zod, and Russell Crowe as Jor-El.[63] Supporting roles include Kevin Costner and Diane Lane as Clark's adoptive parents, Jonathan and Martha Kent, with Laurence Fishburne as Perry White.[63] Cavill was selected after a global casting search, bringing a physical presence suited to the role's demands for intense action sequences. The casting choices aimed to blend established actors with emerging talent to ground the fantastical elements in relatable performances. In the story, the planet Krypton faces imminent destruction due to environmental collapse, prompting scientist Jor-El to send his infant son Kal-El to Earth in a spacecraft. Raised as Clark Kent by Kansas farmers, the adult Clark wanders the world, using his superhuman abilities to help others while concealing his powers. His life changes when journalist Lois Lane investigates his past, leading to revelations about his Kryptonian heritage. The arrival of General Zod and his followers, seeking to terraform Earth into a new Krypton, forces Clark to embrace his destiny as Superman to protect humanity. The climax unfolds in Metropolis, where a massive battle causes widespread destruction, sparking debates over the scale of the devastation portrayed. Snyder's direction employs realistic visual effects and a desaturated color palette to depict Krypton's alien world and Earth's modern settings, with heavy reliance on CGI for action sequences crafted by studios like Weta Digital. The film's fight scenes feature dynamic, high-impact choreography, often using slow-motion to emphasize the superhuman speed and force of the combatants. Running 143 minutes, Man of Steel balances origin exposition with intense spectacle.[63] It was released on June 14, 2013, and became a box office success, grossing $668 million worldwide against its budget.[62]Batman v Superman: Dawn of Justice (2016)
Batman v Superman: Dawn of Justice is a 2016 American superhero film directed by Zack Snyder, serving as a direct sequel to Man of Steel (2013) and the second entry in the DC Extended Universe (DCEU).[64] The production, overseen by Warner Bros. Pictures, had a reported budget of $250 million, reflecting its ambitious scope in uniting iconic DC characters on screen.[65] Snyder, who also helmed the previous film, co-wrote the screenplay with Chris Terrio, drawing from various DC Comics storylines such as The Dark Knight Returns and The Death of Superman. Principal photography began in October 2013, utilizing locations in Detroit and Chicago to represent Gotham City and Metropolis, with extensive use of visual effects for action sequences. The cast includes Henry Cavill reprising his role as Clark Kent/Superman, Ben Affleck as Bruce Wayne/Batman, and newcomers Gal Gadot as Diana Prince/Wonder Woman, Jesse Eisenberg as Lex Luthor, and Jeremy Irons as Alfred Pennyworth.[66] The theatrical release runs 151 minutes, while the home media Ultimate Edition extended cut extends to 183 minutes, incorporating additional footage for deeper character exploration.[64] The plot centers on the escalating tension between Batman and Superman in the wake of Metropolis's destruction during the Kryptonian invasion two years prior. Bruce Wayne, haunted by the loss of life and property from Wayne Enterprises buildings, perceives Superman as an unchecked god-like figure posing an existential threat to humanity and begins a covert campaign to neutralize him using Kryptonite-based weapons.[67] Billionaire Lex Luthor, driven by resentment toward Superman's alien power and a desire to assert human dominance, manipulates this rivalry by orchestrating events that frame Superman as a villain, including a terrorist bombing in Africa and the theft of a Kryptonian scout ship. Luthor's scheme culminates in the creation of Doomsday, a genetically engineered abomination from Zod's corpse, which ravages the city and forces Superman and Batman into a brutal confrontation. Wonder Woman emerges as Diana Prince, a historian investigating Luthor's activities, revealing her own metahuman identity and allying with the heroes to battle the monster. In the climax, Superman sacrifices himself to stop Doomsday with a Kryptonite spear, dying in Lois Lane's arms while affirming his role as humanity's protector. The film delves into themes of heroism's deconstruction, questioning the moral ambiguities of god-like figures in a mortal world and the societal fear they inspire. Zack Snyder emphasized exploring "what it means to be a hero" through the lens of power's corrupting influence and the need for accountability, contrasting Batman's vigilantism with Superman's idealism.[68] Government oversight emerges as a key motif, embodied by Senator June Finch's (Holly Hunter) congressional hearings on Superman's interventions, highlighting debates over superhuman regulation and the potential for tyranny. These elements critique blind faith in saviors, portraying heroism as a burdensome sacrifice amid public division and manipulation by figures like Luthor, who embodies anti-establishment resentment. Released on March 25, 2016, in the United States, Batman v Superman: Dawn of Justice opened to $166 million domestically, the fourth-largest opening weekend at the time, and grossed $874 million worldwide against its budget, marking it a commercial success despite breaking even after marketing costs. Critical reception proved controversial, with a 28% approval rating on Rotten Tomatoes based on 436 reviews, praising the film's visual spectacle and Affleck's performance but lambasting its convoluted plot, dour tone, and underdeveloped characters as overly grim and lacking emotional depth.[67] Audience polls were more favorable at 63%, and the Ultimate Edition later garnered reevaluation for its expanded narrative clarity. The film teases the Justice League's assembly through post-credits scenes involving metahuman surveillance.Justice League films (2017–2021)
The theatrical release of Justice League in 2017 marked a tumultuous chapter in the DC Extended Universe, following director Zack Snyder's abrupt departure due to a family tragedy—the suicide of his daughter Autumn in March 2017—which led him to step down in May.[69] Joss Whedon was brought in as an uncredited co-director to oversee extensive reshoots and script rewrites, injecting humor and lightening the tone to align with studio preferences, which added approximately $25 million to the production costs.[70] The film's budget ultimately reached $300 million, reflecting the scale of these changes and the integration of visual effects for its ensemble cast.[71] In the 120-minute theatrical cut, Superman (Henry Cavill) is resurrected midway through the story using a Mother Box, an ancient Apokoliptian device that the team activates in a desperate bid to counter the villain Steppenwolf (Ciarán Hinds), who seeks to unite the boxes and terraform Earth.[72] His return is brief and comedic, featuring a disoriented fight against the Justice League due to incomplete memories, before he quickly integrates to defeat Steppenwolf, emphasizing his role as the pivotal force in the team's victory but with limited development.[73] Fan dissatisfaction with the theatrical version fueled the #ReleaseTheSnyderCut campaign, a grassroots online movement that gained traction through social media and celebrity endorsements, pressuring Warner Bros. to revisit Snyder's original vision.[74] In May 2020, HBO Max announced the release of Zack Snyder's Justice League, an expanded director's cut that premiered exclusively on the streaming service on March 18, 2021, with a runtime of 242 minutes—more than double the original—and a darker, more epic tone that delved deeper into character backstories, including expanded arcs for Flash (Ezra Miller) and Cyborg (Ray Fisher).[75] The Snyder Cut significantly amplifies Superman's presence, with estimates of 18 to 27 minutes of screen time compared to 12 to 16 minutes in the theatrical version, based on fan analyses and reviews.[76][77] Upon revival via the Mother Box, he dons a black suit symbolizing his Kryptonian heritage; disoriented with fragmented memories, this leads to a prolonged, intense battle with the team before his full integration, portraying him as a brooding, world-weary hero grappling with his identity and the League's dynamics.[73] This expanded portrayal underscores Superman's central role in uniting the heroes against Steppenwolf, while foreshadowing larger cosmic threats. Following the Justice League films, Cavill's Superman had a brief cameo in the post-credits scene of Black Adam (2022); a planned return to the role was announced but ultimately canceled as part of Warner Bros.' transition to a new DC Universe by 2023.[78]DC Universe (2025–present)
Superman (2025)
Superman is a 2025 superhero film directed and written by James Gunn, serving as the inaugural feature of the DC Universe (DCU) shared universe. The movie reimagines the origin and early adventures of the iconic character, emphasizing themes of hope, identity, and heroism in a world already populated by other metahumans. Produced by DC Studios and distributed by Warner Bros. Pictures, it features a blend of practical effects and visual effects to depict Superman's powers, with a runtime of 129 minutes.[79][80] The film stars David Corenswet as Clark Kent/Superman, Rachel Brosnahan as Lois Lane, and Nicholas Hoult as Lex Luthor, with a supporting ensemble including Nathan Fillion as Guy Gardner/Green Lantern and Isabela Merced as Hawkgirl. Principal photography began in February 2024 and wrapped in July 2024, with a reported production budget of $225 million, excluding marketing costs. Gunn drew inspiration from various Superman comics, particularly All-Star Superman, to craft a story centered on the hero's early days as a reporter at the Daily Planet while grappling with global threats.[80][81] In the plot, a young Superman navigates his dual heritage—alien Kryptonian roots and human upbringing in Smallville—amid international conflicts and personal challenges at the Daily Planet. He confronts billionaire Lex Luthor, who exploits public doubts about the hero's interventions, alongside other antagonists like The Engineer. The narrative explores Superman's commitment to truth, justice, and the American way in a skeptical world, incorporating elements of romance with Lois Lane and alliances with fellow heroes. The film's hopeful tone sets up the broader DCU, including brief teases for upcoming projects like Supergirl: Woman of Tomorrow.[82][83][84] Visually, Superman combines practical stunts—such as wire work for flight sequences—with extensive VFX from studios like Wētā FX, Framestore, and Industrial Light & Magic, creating dynamic action set pieces like the Fortress of Solitude and Krypto the Superdog. The score, composed by John Murphy and David Fleming, incorporates and reinterprets John Williams' iconic 1978 theme, blending orchestral elements with modern electronic touches for an uplifting soundscape. Released theatrically on July 11, 2025, the film grossed $616.6 million worldwide, marking the highest-grossing superhero movie of the year and achieving profitability through ancillary revenue streams. It became available digitally on August 15, 2025, and on physical media on September 23, 2025.[85][86][87][88][89][90]Supergirl: Woman of Tomorrow (2026)
Supergirl: Woman of Tomorrow is an upcoming American superhero film in the DC Universe (DCU), serving as the second installment in Chapter One: Gods and Monsters following Superman (2025). The film adapts the 2021–2022 DC Comics limited series Supergirl: Woman of Tomorrow by Tom King and Bilquis Evely, presenting a darker take on Kara Zor-El's origin story that emphasizes cosmic adventure over traditional Earth-based narratives. Directed by Craig Gillespie from a screenplay by Ana Nogueira, it is produced by James Gunn and Peter Safran under DC Studios, with filming having taken place primarily at Warner Bros. Studios Leavesden in the United Kingdom.[91][92] The story centers on Kara Zor-El, who has spent 14 years on Earth but embarks on a galaxy-spanning quest for revenge on her 21st birthday, accompanied by Krypto the Superdog. She allies with Ruthye Marye Knoll, a young alien girl seeking justice for her father's murder at the hands of the villain Krem of the Yellow Hills, leading Kara to confront her traumatic past and Kryptonian heritage. Unlike the more grounded tone of Superman, the film incorporates space opera elements, including interstellar travel and alien worlds, to explore themes of loss and resilience. It maintains continuity within the DCU, with a post-credits cameo appearance by Supergirl in the prior film establishing her role in the shared universe.[91] Milly Alcock stars as Kara Zor-El/Supergirl, bringing a portrayal of a battle-hardened hero shaped by early-life tragedy on Krypton, differing from the optimistic depictions in previous adaptations. Matthias Schoenaerts portrays the antagonist Krem of the Yellow Hills, a ruthless bounty hunter whose actions drive the central conflict, with the character's design amplified for visual impact in the live-action format. Supporting roles include Jason Momoa as Lobo, Emily Beecham, David Krumholtz, and Eve Ridley, contributing to the ensemble's focus on interstellar dynamics. The production aims for a release in theaters and IMAX on June 26, 2026.[92][91] Visually, the film promises cosmic spectacle with expansive space sequences and alien environments, directed by Gillespie to blend high-stakes action with emotional introspection on trauma and identity. Gunn has highlighted its "hardcore" narrative as a bold evolution for the character, prioritizing psychological depth alongside superhero tropes to distinguish it within the DCU slate.[91]Other DCU appearances
In the DC Universe (DCU), Superman's portrayals extend beyond his solo endeavors into ensemble films and series, facilitated by the shared continuity established under co-CEOs James Gunn and Peter Safran. Announced in January 2023 as Chapter One: Gods and Monsters, the DCU slate comprises 10 initial projects designed for organic interconnections, where heroes like Superman can cameo or team up without disrupting individual narratives. This approach marks an evolution from the DC Extended Universe's (DCEU) reliance on large-scale, often convoluted crossovers, such as those in the Justice League films, toward standalone stories that collectively build a cohesive world.[93] Key upcoming projects position Superman for potential appearances in team-up contexts. The Brave and the Bold, a Batman film introducing Bruce Wayne and his son Damian Wayne as Robin, is slated for release after 2025 and emphasizes father-son dynamics while laying groundwork for broader Justice League interactions, potentially including Superman to highlight early alliances among DC's iconic heroes. Meanwhile, the HBO series Lanterns, premiering in 2026 and focusing on Green Lanterns Hal Jordan and John Stewart as detectives, incorporates tie-ins from Superman (2025) via Nathan Fillion's reprise of Guy Gardner, signaling how Superman's world intersects with cosmic threats in the shared universe.[94] Supergirl, as a related Kryptonian character, further expands these dynamics in non-solo media. Her role in the DCU could extend to series like Paradise Lost, a 2026 prequel exploring Themyscira's political intrigue centuries before modern events, potentially bridging Amazonian lore with Kryptonian elements through future crossovers. Similarly, the Booster Gold HBO series, centered on the time-traveling hero Michael Jon Carter and expected around 2027, offers opportunities for Supergirl appearances given its multitemporal scope and connections to the Justice League era. These integrations reflect Gunn and Safran's vision of a flexible ecosystem, where production emphasizes character-driven episodes over mandatory ensemble events, as confirmed in updates through 2025.[95][96] Justice League Dark crossovers represent another avenue for Superman's involvement, with the DCU's supernatural slate—including potential adaptations of occult team-ups—allowing the Man of Steel to confront mystical foes alongside characters like Zatanna or John Constantine, though specific details remain in development as of late 2025. Overall, this structure prioritizes narrative independence while fostering subtle links, such as shared villains or events, to evolve Superman's cinematic legacy into a truly unified DCU.[97]Abandoned and canceled projects
1980s–1990s sequels and reboots
Following the commercial and critical disappointment of Superman IV: The Quest for Peace in 1987, which was produced on a severely reduced budget by Cannon Films amid the company's financial collapse, initial plans for a fifth installment titled Superman V were quickly abandoned. The film's poor performance, grossing only $15.3 million domestically against a $17 million budget, led Cannon to repurpose unused footage from Superman IV for a potential sequel rather than developing new material, but even this effort was scrapped as the studio filed for bankruptcy. Christopher Reeve, who had starred in the previous four films, expressed interest in returning if provided with a compelling script and adequate funding, but no substantive development occurred in the late 1980s due to the franchise's uncertain ownership and market viability.[98] By the early 1990s, producer Ilya Salkind, who had helmed the original Reeve-era films through his company, sought to revive the series with a project initially conceived as Superman V and later retitled Superman Reborn. Co-written by comic book veteran Cary Bates and Mark Jones, the script featured Superman battling the villain Brainiac, resulting in the hero's apparent death and subsequent resurrection within the bottled city of Kandor, where he regains his powers in a narrative emphasizing themes of rebirth and reconciliation with Lois Lane. Reeve was attached to reprise his role, but the project stalled when the Salkind family's exclusive film rights to Superman, granted in 1974, expired in 1993, allowing Warner Bros. to reclaim full control over the character. Warner Bros. exercised its right of refusal on the script, prioritizing in-house productions like the successful Batman franchise and the upcoming TV series Lois & Clark: The New Adventures of Superman, effectively ending Salkind's involvement.[99][100] With control regained, Warner Bros. initiated its own reboot efforts in 1995 under producer Jon Peters, commissioning a new Superman Reborn script from Jonathan Lemkin that drew inspiration from DC Comics' "The Death of Superman" storyline. This version centered on tensions in Clark Kent and Lois Lane's relationship, culminating in Superman's fatal confrontation with the monstrous Doomsday, followed by the rapid aging of their son—who inherits superpowers—to adulthood in mere weeks, serving as the new Man of Steel. A subsequent rewrite by Gregory Poirier introduced Brainiac as the primary antagonist and a robotic exosuit for a depowered Superman, but creative differences, including concerns over tonal similarities to Batman Forever (1995), halted progress. The project was ultimately shelved amid shifting studio priorities, evolving into the more infamous Superman Lives with Nicolas Cage considered for a full reboot portraying a darker, more isolated Kal-El. Rights complications from the Salkind era lingered indirectly, contributing to delays as Warner navigated licensing for key elements like Kryptonian lore.[101][102]Superman Lives (late 1990s)
Development of Superman Lives began in 1996 under producer Jon Peters at Warner Bros., aiming to revive the Superman franchise after the underwhelming performance of Superman IV: The Quest for Peace (1987).[103] Kevin Smith was hired to write the script, titling it Superman Lives to evoke a sense of resurrection, drawing loose inspiration from the 1992-1993 "The Death of Superman" comic storyline.[104] Wesley Strick later handled rewrites, incorporating elements like the alien villain Brainiac collecting Superman's corpse and Lex Luthor allying with him, while Peters insisted on toyetic additions such as a climactic battle against a giant mechanical spider from Krypton.[105] Tim Burton was attached as director in 1997, envisioning a darker, more eccentric take on the character that emphasized Superman's outsider status and included scenes like him fighting polar bears in the Fortress of Solitude.[103] Casting announcements generated significant buzz, with Nicolas Cage secured as Superman/Clark Kent in a pay-or-play deal, reflecting his passion for comics and Burton's gothic style.[106] Concept art depicted Cage in an organic, form-fitting blue supersuit with a prominent red "S" emblem, a mullet hairstyle, and powers visualized through energy blasts from his eyes rather than traditional heat vision.[107] Christopher Walken was eyed for Lex Luthor, bringing his signature eccentricity to the role, while Courteney Cox was considered for Lois Lane to portray a sharp, independent journalist.[104] Pre-production advanced with elaborate set designs, including Brainiac's skull-shaped spaceship, but the estimated budget ballooned to $190 million amid escalating costs for effects and talent.[103] The project collapsed in July 1998 due to irreconcilable creative differences, particularly Peters' demands for spectacle over story and Burton's frustration with script revisions, leading to the director's exit just weeks before principal photography was set to begin.[106] Warner Bros. had already spent around $30 million on development, but the studio pulled the plug, citing the script's lack of cohesion and the prohibitive budget in the wake of Batman & Robin's (1997) failure.[103] Retrospectives have kept Superman Lives alive in popular culture, notably through the 2015 documentary The Death of "Superman Lives": What Happened?, directed by Jon Schnepp, which featured interviews with Smith, Cage, Burton, and others to unpack the chaotic production.[108] In 2018, elements of the unproduced film influenced voice cameos and references in animated projects, while a 2023 comic one-shot, Superman Lives #1, adapted the concept with Cage-inspired artwork and story beats.[109] That same year, de-aged CGI footage of Cage as Superman battling the giant spider appeared in The Flash, fulfilling a long-teased animatic vision from the original pre-production.[110]2000s projects (2004–2009)
In the mid-2000s, Warner Bros. pursued several ambitious Superman-related projects amid uncertainty following the Christopher Reeve films, but most were abandoned in favor of Bryan Singer's Superman Returns (2006). One early concept was Batman vs. Superman: Asylum, a dark crossover film pitched as the second installment in a proposed trilogy initiated by J.J. Abrams' Superman: Flyby script. The story would have depicted a retired Batman emerging from isolation after the Joker's murder of his wife, manipulated by Lex Luthor into clashing with Superman, who was portrayed as a divorced father grappling with personal loss; the tone emphasized vengeance, midlife crises, and psychological manipulation, with the Joker resurrected via twisted DNA experiments.[111][112] Planned for a 2004 release under director Wolfgang Petersen, with a script by Andrew Kevin Walker and revisions by Akiva Goldsman, the project advanced to casting considerations including Christian Bale as Batman and Jude Law as Superman before being shelved in 2003.[111] Warner Bros. executives, led by Alan Horn, prioritized standalone reboots, including Abrams' Flyby and a new Batman origin, halting the crossover to avoid rushing an interconnected universe.[112][113] Parallel to this, Superman: Man of Steel (initially titled Superman: Flyby) represented Abrams' standalone vision for rebooting the franchise, serving as the trilogy's opener with a focus on Kal-El's Kryptonian heritage, a prophecy of his role as heir, and battles against alien threats like the villain Tyzor. The script, delivered in drafts from 2002 to 2003, blended nostalgic elements with high-stakes action, including detailed Kryptonian lore and Superman's internal conflicts over his dual identity.[114] McG was attached as director in 2002 but departed for Charlie's Angels: Full Throttle, leading to Brett Ratner stepping in that September for a targeted summer 2004 release; Ratner later exited in 2004 due to commitments on X-Men: The Last Stand, prompting McG's brief return.[115][116] Budget concerns escalated to an estimated $200 million, and creative differences over the script's scope stalled progress, with screen tests for actors like Henry Cavill and Brandon Routh.[117] McG ultimately left again in July 2004, citing logistical challenges with filming in Australia and the project's ballooning costs, after which Warner Bros. pivoted to Singer's more conservative sequel approach, incorporating select elements from earlier versions like an adult Jason White as Superman's son.[117][118] Following Superman Returns' release, a sequel titled Superman Returns 2 or The Man of Steel was greenlit in 2006 for a mid-2009 debut, with Singer directing and Michael Dougherty scripting a story introducing Brainiac as the primary antagonist—a green-skinned android seeking to exploit New Krypton or target Earth—potentially alongside Bizarro as a secondary foe to heighten action sequences.[119][120] The plot would have built on the first film's revelations, featuring returning cast members Brandon Routh as Superman, Kate Bosworth as Lois Lane, and Kevin Spacey as Lex Luthor, while exploring themes of legacy and interstellar threats.[119] However, the 2007–2008 Writers Guild of America strike delayed pre-production, and Returns' $391 million worldwide gross disappointed Warner Bros. and co-financier Legendary Pictures, who expected over $500 million to justify the $230–$300 million budget plus marketing.[119][120] By August 2008, studio head Jeff Robinov confirmed the sequel's cancellation, shifting resources to a full franchise reboot under David S. Goyer, as Routh's multi-picture contract expired and key talent like Singer moved on.[121] Concurrently, George Miller's Justice League: Mortal emerged in 2007 as an ensemble film uniting Superman, Batman, Wonder Woman, Flash, Green Lantern, Aquaman, and Martian Manhunter against Maxwell Lord, who activates the Brother Eye satellite to create OMAC cyborg soldiers targeting metahumans.[122] Miller, fresh off Happy Feet, envisioned a gritty, R-rated tone with an international cast including D.J. Cotrona as Superman, Armie Hammer as Batman, Megan Gale as Wonder Woman, Adam Brody as Flash, Common as Green Lantern, Santiago Cabrera as Aquaman, and Hugh Keays-Byrne as Martian Manhunter, filmed primarily in Australia for tax incentives.[122] Casting wrapped by late 2007, and costumes were designed, but the 2007–2008 WGA strike halted script finalization, pushing principal photography to 2008.[123] The project collapsed in March 2008 when Australia's government denied a crucial 40% tax rebate due to economic revisions, forcing a costly relocation to Canada or Vancouver; combined with Warner Bros.' pivot toward successful solo films like The Dark Knight, the film was officially abandoned by August 2008.[122][124]2010s–2020s DCEU sequels and alternatives
Following the release of Man of Steel in 2013, Warner Bros. initially planned a direct sequel for 2016, intended to further explore Superman's role in a burgeoning shared universe.[125] However, director Zack Snyder revealed that these plans evolved, merging elements of the standalone Man of Steel 2 into Batman v Superman: Dawn of Justice to accelerate the introduction of Batman and accelerate the Justice League storyline, as the studio sought to compete with Marvel's interconnected model.[126] This shift effectively shelved the pure sequel concept, though later developments tied it to Dwayne Johnson's Black Adam project, with a post-credits scene in the 2022 film teasing a confrontation between Black Adam and Henry Cavill's Superman as a setup for Man of Steel 2.[127] By 2022, amid ongoing instability in the DCEU, the Man of Steel 2 project was fully abandoned as part of DC Studios' broader reboot under co-CEOs James Gunn and Peter Safran.[128] Johnson had advocated for the crossover, positioning Black Adam as a disruptive force in the Superman mythos, but the studio's pivot prioritized a fresh continuity, excluding prior DCEU elements like Cavill's portrayal.[127] Zack Snyder's vision for a Justice League sequel, originally slated for 2019, centered on an invasion by Darkseid and his forces from Apokolips, building directly on the cliffhanger of his 2017 Justice League cut.[129] The plot would have depicted a dystopian "Knightmare" future where Darkseid conquers Earth, enslaves Superman via the Anti-Life Equation after killing Lois Lane, and forces the Justice League into a desperate resistance, including a journey to Apokolips.[130] Snyder detailed these elements in storyboards and interviews, emphasizing themes of loss and redemption, with the film forming the second part of a planned trilogy.[129] The project was ultimately abandoned following the 2021 release of Zack Snyder's Justice League, as Warner Bros. shifted away from Snyder's overarching narrative amid executive changes and the DCEU's underperformance.[130] No further development occurred, with Snyder confirming in 2024 that the studio had no interest in reviving his sequels, marking the end of this Darkseid-centric arc.[129] In 2021, actor Michael B. Jordan entered discussions with Warner Bros. to develop a Black-led Superman project centered on Val-Zod, the Kryptonian hero from Earth-2 in DC Comics lore, as a limited series for HBO Max.[131] Produced through Jordan's Outlier Society banner, the story would portray Val-Zod as a pacifist figure raised in isolation on Earth, grappling with his powers and identity in a narrative distinct from the mainline Superman.[132] Writers Darnell Metayer and Josh Peters were attached to adapt the concept, drawing from comics like Earth 2 where Val-Zod emerges as a successor to the traditional Man of Steel.[132] By 2022, as DC Studios restructured under Gunn and Safran, the Val-Zod project was reclassified as an "Elseworlds" story—separate from the main DCU continuity—allowing it to proceed independently without conflicting with the rebooted Superman film.[133] Jordan expressed continued interest but noted in 2023 that contractual restrictions prevented further updates; however, with no reported developments since, the project appears to have been quietly abandoned as of November 2025.[134] Other unproduced DCEU initiatives included early iterations of a Supergirl film, announced in 2018 and intended to expand the Kryptonian family within the shared universe, featuring Sasha Calle in a lead role after her casting in 2022. These efforts were abandoned during the 2022 DC Studios overhaul, which pivoted the franchise to the DCU under Gunn's leadership, emphasizing interconnected storytelling starting with a new Superman in 2025.[128] This transition effectively reset unviable DCEU extensions, redirecting resources to a unified vision that integrates Superman as the cornerstone while allowing Elseworlds tales like Jordan's to explore alternatives outside the core canon.[135]Recurring cast and characters
Lead actors as Superman
Kirk Alyn became the first actor to portray Superman in live-action film with his role in the 1948 Columbia Pictures serial Superman, followed by the 1950 sequel Atom Man vs. Superman. Selected for his resemblance to Clark Kent and his athletic background as a vaudeville dancer and acrobat, Alyn's fluid physicality suited the character's heroic feats in the 15-chapter serials, marking the debut of Superman's cinematic adventures. However, the role led to severe typecasting, restricting Alyn to similar adventure serials like Blackhawk and limiting broader opportunities in Hollywood until his later years in bit parts and voice work.[136][137] George Reeves brought Superman to feature film in 1951's Superman and the Mole Men, a low-budget production that doubled as a pilot for the successful television series Adventures of Superman (1952–1958), where he reprised the role in 104 episodes. Reeves' sturdy, all-American presence helped define the character's optimistic persona for a new medium, influencing generations of portrayals by emphasizing moral integrity over spectacle. His career was overshadowed by the typecasting of the role, and he died tragically in 1959 at age 45 from a gunshot wound, officially ruled a suicide amid ongoing debates about the circumstances.[138][139] Christopher Reeve's iconic portrayal of Superman in four films from 1978 to 1987—Superman: The Movie, Superman II, Superman III, and Superman IV: The Quest for Peace—along with cameos in related projects, set a benchmark for the character's duality as both invincible hero and vulnerable everyman. To prepare, the 25-year-old Reeve underwent rigorous training under bodybuilder David Prowse, gaining approximately 30 pounds of muscle to reach 212 pounds from his starting weight of around 182 pounds, enhancing his 6-foot-4 frame for the role's physical demands. Following a 1995 equestrian accident that left him quadriplegic, Reeve channeled his experience into activism, co-founding the Christopher & Dana Reeve Foundation to advance spinal cord injury research and advocating for disability rights until his death in 2004.[140][137] Brandon Routh embodied Superman in 2006's Superman Returns, a spiritual sequel to the Reeve films directed by Bryan Singer, who explicitly modeled Routh's performance and appearance after Reeve's to evoke nostalgia while exploring themes of legacy and redemption. At 26, Routh's casting emphasized a youthful, earnest quality that aligned with the character's hopeful essence, though the film's introspective tone divided audiences. He briefly reprised the role in 2019's Arrowverse crossover Crisis on Infinite Earths, portraying an alternate-universe Kingdom Come-inspired Superman, allowing Routh to revisit and expand on the character in a more seasoned light.[137][141] Henry Cavill portrayed Superman across the DC Extended Universe from 2013's Man of Steel through Batman v Superman: Dawn of Justice (2016), Justice League (2017, with additional footage in the 2021 director's cut), and Zack Snyder's Justice League (2021), concluding his arc with a cameo in 2023's The Flash. To achieve the physique for Man of Steel, Cavill followed an intense regimen designed by trainer Mark Twight, incorporating Olympic weightlifting, high-intensity circuits, and MMA training for up to six hours daily over five months, building significant muscle mass to convey the character's godlike power. His tenure emphasized a more brooding, conflicted Man of Steel, though it ended amid DC's creative reboot under James Gunn.[142][137] David Corenswet made his debut as Superman in James Gunn's 2025 DC Universe film Superman, selected after approximately 400 auditions for his wholesome, all-American look that evoked classic portrayals while bringing a fresh, earnest vulnerability to Clark Kent.[143] Previously known for supporting roles in The Politician and Pearl, the 31-year-old Corenswet prepared by immersing in Superman lore to capture the character's optimism and moral core. Early reviews praised his nuanced performance for balancing strength with relatability, contributing to the film's strong critical reception and box office success.[144][145]Supporting roles and villains
Supporting roles in Superman films have often revolved around key Daily Planet colleagues, with Lois Lane serving as Superman's primary romantic interest and journalistic partner. Noel Neill first portrayed Lois Lane in the 1948 serial Superman and the 1950 serial Atom Man vs. Superman, establishing her as a determined reporter willing to pursue leads at personal risk.[146] Phyllis Coates took on the role in the 1951 feature film Superman and the Mole Men, depicting Lois as a bold investigator challenging Superman's isolationist stance toward the mole men.[147] Margot Kidder's iconic performance across the Christopher Reeve films—Superman (1978), Superman II (1980), Superman III (1983), and Superman IV: The Quest for Peace (1987)—transformed Lois into a feisty, independent journalist who actively aids Superman while maintaining a sharp romantic tension.[148] Kate Bosworth reprised the character in Superman Returns (2006), portraying a more mature Lois as a mother and Pulitzer-winning reporter grappling with Superman's absence.[149] Amy Adams embodied Lois in the DC Extended Universe (DCEU) films, including Man of Steel (2013), Batman v Superman: Dawn of Justice (2016), Justice League (2017), and Zack Snyder's Justice League (2021), emphasizing her as a fearless war correspondent who uncovers Superman's alien origins early on. Rachel Brosnahan played Lois in the 2025 reboot Superman, presenting her as a tenacious editor at The Daily Planet who balances professional ambition with personal vulnerability.[150] Jimmy Olsen, Superman's youthful photographer ally at the Daily Planet, has appeared less frequently in films but provided comic relief and loyalty. Marc McClure originated the role in the Reeve series, appearing in Superman (1978) through Superman IV (1987) and returning briefly in Superman Returns (2006) as a more seasoned Olsen.[151] In the DCEU, Michael Cassidy portrayed Jimmy in Batman v Superman: Dawn of Justice (2016), though reimagined as a CIA operative undercover as a photographer who is killed early in the film, subverting the character's traditional optimism.[152] Skyler Gisondo portrayed Jimmy Olsen in the 2025 Superman, depicting him as an enthusiastic young photographer supporting the Daily Planet team.[153] Perry White, the gruff yet principled editor-in-chief of The Daily Planet, has been a recurring authority figure. Jackie Cooper played Perry in the four Reeve films from 1978 to 1987, capturing his bombastic demands for headlines like "Great Caesar's ghost!"[154] Frank Langella assumed the role in Superman Returns (2006), portraying a supportive mentor to the returning hero.[155] Laurence Fishburne depicted Perry in the DCEU entries Man of Steel (2013), Batman v Superman: Dawn of Justice (2016), and Justice League (2017), emphasizing his role as a journalistic watchdog in a media-saturated world. Wendell Pierce brought a commanding presence to Perry in the 2025 Superman, highlighting his ethical leadership amid corporate pressures. Key villains beyond Lex Luthor have included Kryptonian threats that challenge Superman's heritage. Terence Stamp's General Zod in Superman (1978, cameo) and Superman II (1980) represented a militaristic foil, leading a trio of criminals—Ursa and Non—in a conquest of Earth after their banishment from Krypton.[156] In Superman IV: The Quest for Peace (1987), Nuclear Man, created by Lex Luthor using Superman's DNA and nuclear material, served as a superpowered clone antagonist, portrayed by Mark Pillow with voice work by Gene Hackman, embodying themes of atomic destruction. Over time, portrayals of supporting characters and villains have evolved to reflect cultural shifts. Lois Lane transitioned from a damsel-in-distress archetype in early serials to an empowered partner who influences Superman's decisions, as seen in Kidder's and Adams's interpretations that prioritize her agency and intellect.[157] Lex Luthor's depiction shifted from a mad scientist in the 1950 serials to a cunning, intellectual megalomaniac in the Reeve era with Hackman, and later to a tech-savvy eccentric with Eisenberg in the DCEU, and in 2025 to a calculating, bald genius antagonist with Nicholas Hoult in James Gunn's film, underscoring his role as Superman's cerebral archenemy rather than a purely physical threat.[158][159]Themes and production evolution
Visual effects and costume design
The visual effects in the early Superman serials, such as Superman (1948) and Atom Man vs. Superman (1950), relied on rudimentary techniques including wire work for simulating flight sequences and miniatures for depicting destruction and aerial perspectives. These methods involved suspending actors on wires against projected backgrounds, with basic optical composites used to integrate Superman into scenes, often resulting in visible seams and unnatural movements due to the limitations of 1940s film technology. Basic matte paintings and rear projection further enhanced the illusion of superhuman feats, though the effects were constrained by budget and era-specific equipment. In the Christopher Reeve era, the 1978 film Superman: The Movie introduced groundbreaking visual effects, particularly the Zoptic illusion system developed by optical effects pioneer Zoran Perisic, which allowed for dynamic, three-dimensional flight sequences without traditional wires. This technique used a motorized zoom lens synchronized with a foreground miniature to create the appearance of Superman soaring through space, earning acclaim as the first major motion picture to claim wire-free flight simulation. Costume design for Reeve's portrayal featured a latex-based suit crafted by makeup artist Rick Baker, emphasizing a sleek, form-fitting silhouette with a metallic sheen to evoke invincibility while allowing flexibility for stunts. Subsequent Reeve films refined these elements, incorporating more composites and practical effects for powers like heat vision and super strength. The 2006 film Superman Returns, directed by Bryan Singer, advanced digital visual effects by employing wire removal and computer-generated imagery (CGI) to smooth out flight paths, eliminating the visible artifacts common in earlier wire-based work. Effects houses like Sony Pictures Imageworks handled key sequences, including the creation of a textured blue S-shield on the costume that integrated subtle digital enhancements for depth and realism. The costume itself drew from Reeve's design but incorporated modern materials for durability, with the shield featuring etched metallic details to symbolize Kryptonian heritage. In the DC Extended Universe (DCEU), films like Man of Steel (2013) showcased sophisticated CGI for Superman's flight, with Industrial Light & Magic (ILM) developing dynamic trails and atmospheric distortions to convey supersonic speeds. Destruction simulations in battle scenes utilized particle effects and rigid body dynamics for realistic debris and structural collapse. Weta Digital contributed to later entries like Justice League (2017), enhancing destruction sims with high-fidelity fluid and rigid simulations for large-scale action. Costume designs evolved to include textured, armored elements on the suit, such as raised plating and a weathered fabric texture, blending comic-book aesthetics with tactical functionality for a more battle-hardened appearance. The DC Universe film Superman (2025), directed by James Gunn, emphasizes a hybrid approach to visual effects, combining practical stunts and miniatures with CGI for flight and superhuman feats to achieve a grounded yet spectacular look, with Industrial Light & Magic (ILM) and Weta FX handling key sequences. The costume pays homage to classic comics with a traditional red-and-blue palette, featuring a caped design with subtle fabric textures and no overt armor, crafted to nod to the character's Silver Age origins.[160] Key milestones in Superman's film effects include the 1978 Zoptic system's pioneering wire-free flight, which set a benchmark for superhero visuals.Portrayals of Superman's origin and powers
Across Superman films, the destruction of Krypton remains a consistent element of the hero's origin, serving as the catalyst for his journey to Earth, while interpretations of his Earth upbringing have varied to reflect evolving narrative emphases on identity and belonging. In Richard Donner's 1978 Superman, the planet's cataclysmic explosion is depicted through Jor-El's prophetic warnings, propelling infant Kal-El's rocket to rural Kansas, where he is adopted by Jonathan and Martha Kent and raised as the archetypal farm boy Clark Kent, instilling values of humility and moral duty.[161] This wholesome, Smallville-rooted portrayal underscores Superman's assimilation into American heartland ideals. In contrast, Zack Snyder's 2013 Man of Steel maintains the Kryptonian apocalypse but presents a more nomadic Clark Kent, who drifts through manual labor jobs as an adult wanderer, grappling with his alien heritage before fully embracing his destiny, highlighting themes of isolation and self-discovery.[162] James Gunn's 2025 Superman returns to the farm boy archetype, with Clark's Kansas upbringing by the Kents emphasized as foundational to his heroism, reinforcing his role as an optimistic everyman.[163] Depictions of Superman's powers have standardized invulnerability as a core trait, enabling him to withstand extreme physical harm, while the portrayal of flight has evolved from rudimentary mechanics to fluid realism, and weaknesses like Kryptonite have been introduced to add vulnerability. Early serials, such as the 1948 Superman and 1950 Atom Man vs. Superman, limited flight to high leaps followed by animated sequences, portraying it as a bounded super-jump rather than true aerial mastery, which constrained action sequences to ground-level feats.[164] By the 1951 feature Superman and the Mole-Men, invulnerability is shown as near-absolute against human threats, but Kryptonite makes its film debut in the 1948 serial, where exposure weakens Superman dramatically, originating from radioactive meteor fragments of Krypton to humanize the otherwise invincible hero.[165] Subsequent films like Donner's 1978 Superman advanced flight to seamless, soaring motion, symbolizing boundless freedom, while modern entries such as Man of Steel employ advanced digital effects for dynamic, physics-defying maneuvers. In Supergirl (1984), the heroine's Kryptonian physiology extends vulnerability to magic, as seen in her struggles against mystical forces, broadening the franchise's exploration of supernatural counters to superhuman might.[166] Superman's character arcs in film often pivot between portrayals as a hopeful icon and a perceived alien threat, with his no-kill rule emerging as a point of philosophical contention, particularly in the DC Extended Universe (DCEU). The 1978 film establishes Superman as an unwavering symbol of inspiration, with Christopher Reeve's Clark Kent evolving from a gentle farm youth to a beacon of optimism who saves the world without lethal force, embodying reassurance in a post-Vietnam era.[167] Conversely, Man of Steel frames Clark as an existential outsider, initially viewed as a potential destroyer by humanity amid global panic over his powers, culminating in his reluctant killing of General Zod to prevent mass murder, which sparks debate over the sanctity of his traditional no-kill ethic. This tension persists in DCEU sequels like Batman v Superman: Dawn of Justice (2016), where Superman's arc grapples with public distrust as an otherworldly force, challenging his moral code without further breaches. The 2025 film portrays Superman as a hopeful icon, emphasizing non-lethal heroism and communal protection in contrast to DCEU portrayals. Philosophical underpinnings in these portrayals have shifted from nationalistic ideals to broader humanism, often encapsulated in Superman's evolving motto. The 1978 film famously articulates "truth, justice, and the American way" during a pivotal interview with Lois Lane, positioning Superman as a defender of democratic values amid Cold War anxieties.[168] By Superman IV: The Quest for Peace (1987), the focus expands to global concerns like nuclear disarmament, portraying Superman as a planetary guardian rather than solely an American symbol. This progression culminates in the 2025 film, which adopts "truth, justice, and a better tomorrow," emphasizing universal progress and inclusivity over geopolitical specificity, aligning with contemporary calls for a more worldly moral philosophy.[169]Reception and legacy
Box office performance
The earliest Superman films, including the 1948 and 1950 serials, did not have comprehensive box office tracking due to the era's limited data collection practices.[170] Superman and the Mole Men (1951), the first standalone feature, was a low-budget production that achieved modest box office returns, reflecting its limited theatrical release as a pilot for the subsequent television series. The Christopher Reeve era marked the franchise's initial commercial breakthrough. Superman (1978) earned $134.2 million domestically and $166 million internationally, totaling $300.2 million worldwide, which adjusted for inflation exceeds $1.3 billion in 2025 dollars and established the film as a blockbuster.[171] Its sequel, Superman II (1980), grossed $108.2 million domestically and $82.2 million internationally for a worldwide total of $190.4 million, maintaining strong performance but showing a decline from the original.[34] Superman III (1983) underperformed with $60 million domestic and $20.3 million international, reaching $80.2 million worldwide, while Superman IV: The Quest for Peace (1987) fared worse at $14.5 million domestic and $22.2 million international, totaling $36.7 million, signaling franchise fatigue and contributing to a production hiatus.[48] Superman Returns (2006) revived the character with $200.1 million domestic and $191 million international, for $391.1 million worldwide, but its high $270 million budget led to break-even status at best, deemed underwhelming relative to expectations and prompting further reboots.[58] In the DC Extended Universe (DCEU), Man of Steel (2013) achieved $291 million domestic and $377 million international, totaling $668 million worldwide and revitalizing the franchise commercially.[62] Batman v Superman: Dawn of Justice (2016) peaked at $330.4 million domestic and $544 million international, grossing $874.4 million worldwide and becoming the highest-earning Superman film unadjusted.[172] Justice League (2017) followed with $229 million domestic and $432.3 million international, reaching $661.3 million worldwide, though production issues and a $300 million budget marked it as underperforming.[173] The Zack Snyder's Justice League cut (2021) was a streaming exclusive and generated no theatrical box office. The rebooted DC Universe's Superman (2025), directed by James Gunn, has grossed $354.2 million domestically and $262.4 million internationally as of November 2025, totaling $616.6 million worldwide and positioning it as a solid performer amid the franchise's shift to new leadership.[88]| Film | Release Year | Domestic Gross (USD) | International Gross (USD) | Worldwide Gross (USD) |
|---|---|---|---|---|
| Superman | 1978 | 134,218,018 | 166,000,000 | 300,200,000 |
| Superman II | 1980 | 108,185,706 | 82,214,294 | 190,400,000 |
| Superman III | 1983 | 59,950,623 | 20,250,000 | 80,200,000 |
| Superman IV: The Quest for Peace | 1987 | 14,522,355 | 22,177,645 | 36,700,000 |
| Superman Returns | 2006 | 200,120,000 | 190,961,192 | 391,081,192 |
| Man of Steel | 2013 | 291,045,518 | 376,954,000 | 667,999,518 |
| Batman v Superman: Dawn of Justice | 2016 | 330,360,194 | 544,000,000 | 874,360,194 |
| Justice League | 2017 | 229,024,295 | 432,300,000 | 661,324,295 |
| Superman | 2025 | 354,184,465 | 262,400,000 | 616,584,465 |

