Since making his feature film debut in 2004, Zack Snyder has become one of Hollywood’s most sought-after directors for comic book adaptations, to the point where he has played a major role in helping Warner Bros. launch its DC Extended Universe, directing Man of Steel in 2013 and Batman v Superman: Dawn of Justice in 2016 (his third entry in the franchise, Justice League, will be out later this year). Snyder is a filmmaker who works almost exclusively in the blockbuster space and for good reason, as he is one of the most visually-dynamic action filmmakers working today.
Unfortunately, while Snyder’s films are regularly huge hits with audiences, he is far from being a critical darling and has just as many stumbles as successes. Still, whatever your opinion on Snyder or his filmmaking style, it’s hard to deny that he’s a visionary with a distinctive cinematic voice and has made meaningful contributions to modern filmmaking despite only being in the second decade of features career.
Here is a look back at Zack Snyder’s entire filmography to date, ranking each of his films from worst to best.
Batman v Superman: Dawn of Justice
Snyder’s worst film to date is ironically his most successful, managing to rake in an impressive $873.2 million at the worldwide box office. Unfortunately, “it made money” is one of the only positive things you can say about Batman v Superman, a disjointed mess of a film that is a cinematic injustice on almost every front. Snyder made it clear with his prior work that he’s primarily interesting in making darker superhero films with “adult” themes, but Batman v Superman is a film so self important and overly serious that it borders on parody.
Although Ben Affleck fares better than Henry Cavill, the film’s two leads offer largely boring and grim interpretations of two of the world’s most popular superheroes and things get even worse when it comes to the villains, one of which is played by Jesse Eisenberg in what may be his worst performance to date. Throw in a mind-numbing array of plot holes, universe-building that plays like it was dreamed up on a cocktail napkin five minutes for shooting began, and an overall tone that can best be described as contemptuous toward everything these characters represent, and you have the low point of Snyder’s filmography.