Every Marvel Cinematic Universe Movie Ranked

AKA the red – green? – headed stepchild of the Marvel Cinematic Universe. Rights issues with Universal have kept Marvel from trying again with a stand-alone Hulk movie, so The Incredible Hulk stands as an outlier in the series. The film had a notably troubled production, with Edward Norton re-writing the script and disagreements about casting, and the result is a movie that feels more compromised than its stablemates, though its central star makes a solid stab at portraying Banner's pain and rage. Lessons were learned on this film, Marvel figuring out what it didn't want to do in future, while also finding a way to handle the Hulk himself. Anyone want to indulge in a little 'What If', and ponder what would happen had Norton stayed in the role? Nah… Us neither. Read the Empire review.

Even the Iron Man movies aren't immune from Tough Sequel Syndrome, and the second outing for Tony Stark largely tries to recapture what made the original great, without always succeeding. Yet director Jon Favreau still marshals some thrilling sequences, including the Monaco racing scenes and the final drone suit clash. Plus, it introduces Scarlett Johansson's Black Widow, sets up Don Cheadle's take on Rhodey and has the sheer pleasure of a dancing, preening Sam Rockwell as Tony's corporate rival Justin Hammer. Mickey Rourke's Ivan Vanko perhaps doesn't work as well as he might, but Iron Man 2 doesn't tarnish the Stark memory even if it's a lesser entry in the canon.Read the Empire review.

Looked down upon as the far lesser of the three Thor movies to date, The Dark World suffered from a cultural clash behind the camera, as Game Of Thrones veteran Alan Taylor didn't quite seem to mesh with the Marvel machine. And the film's story of dark elves looking to find the Aether (one of the Infinity Stones) and bring their particular brand of chaos back to the universe never really sings. Still, there are pleasures to be found here – Kat Dennings always entertains as Darcy ("Mew mew!") and Tom Hiddleston's Loki is naturally a delight, even if his death fake-out is hardly the most convincing con job. Oh, and we'll never feel OK about those wrong tube directions.Read the Empire review.

Peyton Reed's follow-up to his first Ant-venture doesn't quite manage the blend of comedy and of superhero story as successfully, but it remains a watchable, goofy antidote to the bigger stories. Evangeline Lilly gets a little more mileage as Hope this time around, and the Giant Man moments have their charms. It's just saddled with a more forgettable villain and a less compelling story, sometimes feeling as though it's marking time waiting for other films to start. Which is a shame, as Paul Rudd continues to shine, and he pings well off of the likes of Randall Park and Michelle Pfeiffer. Read the Empire review.

It took more years than it really should have, but the MCU finally produced a movie with a female lead. And in Brie Larson, it found an Oscar-winning actor who could share the screen with (an astonishingly de-aged) Samuel L. Jackson without being acted off of it. Finding novel narrative spins on comic lore and boasting a killer Ben Mendelsohn turn, Captain Marvel has a deeply-embedded feminist stance woven into every fibre of the character and her narratively-complex beginnings that sets it apart from all previous origin stories. Directors Anna Boden and Ryan Fleck gave Carol Danvers a debut full of promise, sure to be capitalised upon further down the line.Read the Empire review.

Finally, five years too late, Natasha Romanoff got her own movie. Set in the period between Civil War and Infinity War, with Natasha laying low after breaking the Sokovia Accords, it sees her reunited with her Russian 'family' from an undercover mission in her childhood – sister Yelena (Florence Pugh), mother Melina (Rachel Weisz) and Soviet super-soldier father Alexei (David Harbour) – to take down the Black Widow institution. A barely post-pandemic release meant an underwhelming performance at the box office, plus the fact that, oh yeah, Natasha already died in Endgame meant that this prequel-slash-filling-in-the-gaps-quel lost all the stakes and intrigue it could have had were it scheduled earlier in the franchise. Despite its faults, it did give us two great things – an excellent addition to the MCU ensemble in Florence Pugh, and a fitting solo sendoff for Scarlett Johansson.

James Gunn's first Guardians felt like an immediate Greatest Hits set, and while the sequel suffers a little in comparison, it's far from a Difficult Second Album. Less disciplined than the previous film, Vol. 2 is still a wonderful galactic jaunt as Chris Pratt's Peter Quill confronts his daddy issues in a family reunion with Kurt Russell's living planet, Ego. The soundtrack is killer, while the team's chemistry remains fully intact (Drax and Rocket still thieve scenes), bolstered by the ludicrously adorable new addition of the mayhem-prone Baby Groot. Most surprisingly, it has a big, achy breaky heart courtesy of Michael Rooker's Yondu and Rocket's emotional baggage.Read the Empire review.

More a comedy-inflected crime caper than a traditional superhero movie, Ant-Man makes the most of its central hero's size-shifting abilities. Paul Rudd is on typically charming form as Scott Lang, small-time thief turned sort-of hero, while Michael Douglas gives good grouch as Hank Pym and Evangeline Lilly gives her all to Hope Van Dyne – though the break-out character has to be Michael Pena's master storyteller Louis. If it's a minor entry in the series (and one of the lower box office performers), there are plenty of reasons to enjoy the lighthearted heroism and super-shrinking exploits – even if it's hard not to ponder what Edgar Wright and Joe Cornish's version might have looked like.Read the Empire review.

After Iron Man, this was the MCU's next big risk – bringing a literal Norse God into a realm of robo-suited heroes. Sir Kenneth Branagh proved an inspired choice as director for the film's 'Shakespeare in space' premise, and Chris Hemsworth is well-cast as the hot-headed young warrior, delivering fish-out-of-water gags with ease – but it's Tom Hiddleston who became the instant fan-favourite as scheming n'er-do-well Loki. The romance plot with Natalie Portman's Jane Foster doesn't quite take off and Ragnarok is more fun, but the first Thor totally embraces its high-fantasy vibe and doesn't get the credit it necessarily deserves as Marvel's first cosmic-inflected movie.Read the Empire review.

After his, er, eventful trip to the depths of space in Infinity War, and his eventual un-dusting in Endgame, Peter Parker more than deserved a holiday. Which is why Homecoming sequel Far From Home sends him off to Europe with his classmates. It carries over what worked from the first film – especially support from the likes of Zendaya as the best MJ we've had, Jacob Batalon as bubbly best pal Ned, and Tony Revolori as smug, social media obsessed Flash – and adds in a memorable performance from Jake Gyllenhaal as Quentin Beck, aka Mysterio, who… well, we won't tell. But fair to say, Far From Home delivers some unexpectedly trippy thrills, hormone-powered teen romances, and the same peppy energy that Jon Watts conjured last time around.Read the Empire review.

It's the least great of Cap's three solo films, but the foundations of what makes Chris Evans' Steve Rogers special are there right from this origin story – a benefit of writers Christopher Markus and Stephen McFeely penning both sequels and the later Avengers films – as are fellow fan favourite characters like Sebastian Stan's Bucky Barnes and Hayley Atwell's Peggy Carter. Director Joe Johnston deserves a lot of credit for making a World War II-set action film that feels akin to a Saturday serial throwback. Between the well-crafted battle scenes, the impressive CGI work on pre-serum Steve, the clever world building, and the fun Alan Menken-penned musical number, The First Avenger is undeniably impactful.Read the Empire review.

Following the many farewells of Endgame, the MCU was in real need of new heroes – and within an hour of his introduction, Shang-Chi immediately punches through as a new fan-favourite sure to bring his own flavour to the Marvel brew going forward. Simu Liu is perfectly cast as Asian-American car valet Shaun, who's actually martial arts master Shang-Chi, having fled from his old life where he was raised by immortal crime lord Wenwu (the incredible Tony Leung). Cue a plot that sends him back to confront his father and his estranged sister Xialing (Meng'er Zhang, also excellent) with the help of best friend Katy (Awkwafina on typically funny form). With its impeccably-choreographed fist-fights – the extended bus brawl is a particular highlight – thematic explorations of grief, and influences from East Asian mythology, Shang-Chi feels like a true extension of the many worlds the MCU contains, even if the climactic CGI-heavy dragon fight doesn't impact as much as the kung-fu. Bonus points for the hilarious return of Trevor Slattery, and scene-stealing critter Morris. Read the Empire review.

The seed. The origin. The one even Kevin Feige didn't know would truly work. The rest, of course, is cinematic history, as Jon Favreau and the others took a gamble on Robert Downey Jr. and came up a winner. He instantly defined a role for the ages, and the loose, improv-style (while still acknowledging the efforts of writers Mark Fergus, Hawk Ostby, Art Marcum and Matt Holloway) for the story gave the film a fresh energy in a world where superhero films were starting to dominate the box office. The small scale and low stakes seem charming, but Iron Man is no less effective for that. From its cave opening to Tony taking out terrorists, it's a solid foundation upon which a universe could stand.Read the Empire review.

Marvel's biggest swing yet saw Oscar-winner Chloé Zhao take up the mantle of director on a film about 10 ancient superheroes that hardly anybody had ever heard of. Eternals has more on its mind than simply good versus evil – asking questions about faith, humanity and dogma. At what point does love trump long-held beliefs? What does it look like to walk away from a fight? When does the cost of maintaining order in the universe become too high? A strong, diverse cast allows for some of Marvel's best examples of inclusive representation yet – a deaf super-speedster in Lauren Ridloff's Makkari, and a properly fleshed out gay character in Brian Tyree Henry's Phastos – and Zhao's cinematic sensibilities are evident throughout, with tactile on-location surroundings bathed in golden hour sunlight balancing out the required boatload of green-screen and CGI. Its slow pace and lack of the usual MCU brand of banter led to a mixed response from critics and audiences alike, but the rug-pull, ripe-for-a-rewatch nature of the storytelling may be more suited to its new home on Disney+.Read the Empire review.

Adding the Master of the Mystic Arts to the MCU opened a lot of doors (in more than one sense). If Doctor Strange himself fares better in his later Avengers appearances, Benedict Cumberbatch here makes for a solid Stephen Strange, the smug surgeon who loses the fine control in his hands but gains a whole new set of skills. He remains watchable despite being an insufferable arsehole for much of the runtime, surrounded by more likeable performances from Tilda Swinton as the wise Ancient One, and Benedict Wong as Wong. Director Scott Derrickson, usually known for horror movies, doubles down on delivering mind-bending imagery, ensuring that the psychedelic side of Steve Ditko's creation remains thoroughly intact.Read the Empire review.

With the third Iron Man movie, writer-director Shane Black and co-writer Drew Pearce let Robert Downey Jr. loose as Tony Stark, adapting a complicated comics mythology into something that feels fresh, real, and as irreverently funny as you'd expect from the man behind Lethal Weapon and Kiss Kiss Bang Bang. Tony's post-Avengers PTSD is handled with gravitas, but it also doesn't dampen the fun factor, particularly his team-up with cute kid Harley Keener. Gwyneth Paltrow gets more to do as Pepper, Guy Pearce makes for an engaging villain, the suit-swapping final act is a big improvement on the robo-a-robo finales of the previous Iron Man films, and that's all before we've mentioned the man, the legend, the weirdo that is Trevor Slattery (Ben Kingsley). Some hate him, but we're firmly on Team Trevor.Read the Empire review.

Joss Whedon's second team-up movie doesn't have the clean efficiency of his first effort, but it's perhaps better than many give it credit for. Age Of Ultron opens with a classic clash that gives everyone a moment in the sun, delivers a superhero party scene for the ages, and provides plenty of character moments throughout the bombast. Plus, it all winds up with a full city smack-down that lays seeds for the future of the universe (hello, Sokovia Accords), and James Spader is a ton of fun as the titular calculating calculator on legs who quips with the best of them, even if Ultron himself is prone to the ultimate villain misdeed: monologuing.Read the Empire review.

Even Chris Hemsworth admitted he was starting to tire of the way Thor was handled, and the ever-irreverent Taika Waititi was the perfect candidate to give it a shot in the arm (alongside writers Eric Pearson, Craig Kyle and Christopher L. Yost). Destroying so many of the established elements of the Thor mythology – often literally – Ragnarok proves that epic adventure doesn't have to be po-faced and that even someone with the Son of Odin's tragic background can be truly entertaining. Its cosmic jaunt to the colourful planet of Sakaar is an inspired choice, offering an explosive turn from Tessa Thompson as Valkyrie, the Hulk arena-smackdown everyone was waiting for, Jeff Goldblum going maximum-Goldblum as the Grandmaster, and the director himself popping up as rocky wannabe-revolutionary Korg. Big, silly fun.Read the Empire review.

After the Amazing Spider-Man reboot proved to be less-than-amazing, a miraculous Marvel-Sony deal gave us one of the most enjoyable Spider-Man movies ever, with Kevin Feige's fingerprints all over it. Fresh from a killer introduction in Civil War, Tom Holland is a believably teenage Peter Parker, selling the web-slinger's quippy humour and gawky charm with ease. Director Jon Watts brings a rebellious spirit, tons of laughs, and pulls off a brilliant twist – and in focusing on Parker's local block in Queens, it's the film that most understands the hero's role as a friendly neighbourhood Spider-Man. Downey Jr. brings star power as Parker's mentor, Marisa Tomei is a winning Aunt May, and Michael Keaton gives his best genre performance since his Caped Crusader days. Just, don't mention the whole '8 Years Later' thing.Read the Empire review.

T'Challa's long-awaited solo film goes far beyond basic levels of black representation in the superhero genre. Every element of Black Panther – from the lavish costumes, to the stunning set design, to the Kendrick Lamar-assisted soundtrack, to the themes explored by the screenplay – is authentically entrenched in African heritage and the African-American experience. It's also a vibrant and gripping Bond-esque action-thriller with car chases, gadgets, and punchy brawls to boot, with an engaging lead in Chadwick Boseman – though it's Michael B. Jordan's villainous Erik Killmonger (one of the best, most complicated baddies in the MCU) who steals scenes, alongside Danai Gurira's Okoye (the wig throw!) and Letitia Wright's Shuri ("What are those!"). No wonder it became a box office-smashing pop cultural sensation.Read the Empire review.

Much bigger team-ups have followed Joss Whedon's initial effort, but none of them would exist without this. The writer-director fills his six heroes' mouths with snappy, memorable, instantly GIF-able dialogue, bolsters Tom Hiddleston's Loki with a dastardly evil plan, and doesn't skimp on the action, bringing to the screen moments that fans had long dreamed about but only seen on comics pages. Iron Man vs. Thor? Cap working alongside the Hulk? Hawkeye proving useful at last, even if he spends a chunk of the film under mind control? (Sorry Clint). If Team Marvel ever worried that it couldn't be done, they never showed it, and the joins only rarely peek through. A milestone that still holds up, several sequels later.Read the Empire review.

How do you talk about Tom Holland's third Spidey flick without spoilers? Basically, you don't – so turn away here if you're yet to catch the box office behemoth. Director Jon Watts retains the tonal confidence of Homecoming and Far From Home in a none-more-ambitious Spider-Man movie – one that not only gives Holland's Peter Parker huge amounts of character development, but teams him up with fellow former screen Spideys, Tobey Maguire and Andrew Garfield, for some of the most giddily entertaining moments in the MCU. Beyond the joy of seeing Willem Dafoe (excellent in particular) and Alfred Molina return as Green Goblin and Doc Ock, there's so much heart and pathos and depth to the on-screen union of the three Peters, sharing their experiences of loss, love, and life in a way that gets to the heart of Marvel's most iconic hero. Plus, Zendaya and Jacob Batalon are still golden as MJ and Ned, it doesn't lose sight of the teenage kicks of the previous two films, and the emotional wounds cut deep. Set your Spider-Tingle to maximum.Read the Empire review.

With central characters including a monosyllabic tree and a sentient raccoon, and introducing an all-new intergalactic corner of the MCU, Guardians Of The Galaxy was a risk even by Marvel Studios' standards. But passing the reins to filmmaker James Gunn proved a masterstroke, resulting in a colourful and quippy summer blockbuster that's both freaky and – literally, thanks to its stellar Awesome Mix soundtrack – funky. Gorgeous visuals, rat-a-tat bickering dialogue, and a surprising emotional depth (the opening sequence is a real heartbreaker) make Vol. 1 an absolute cosmic jam.Read the Empire review.

If the astonishing airport fight feels slightly less special now in the wake of Infinity War and Endgame, the third Cap movie nevertheless hits hard with a depth of emotion and rich, grounded storytelling. In cracking open the rift between Steve Rogers and Tony Stark – a dispute both ideological, and later deeply personal – Civil War truly gets under the skin of the MCU's two greatest heroes while enriching the world around them, fleshing out the past and shaping new futures for the franchise. Then there's the ice-cold calculation of Daniel Brühl's villain Zemo, the undying loyalty of Steve to Bucky, the pitch-perfect introductions of Spider-Man and Black Panther, and more of the ridiculously sharp combat that made The Winter Soldier so refreshing. And who are we kidding, the airport fight still rules.Read the Empire review.

If The First Avenger reveals exactly who Steve Rogers was in the '40s, The Winter Soldier asks who he is in the present day – out of wartime, when political nuance is trickier and enemies aren't marked by obvious fascistic uniforms – and doesn't give easy answers. Its action is grounded and punchy – literally, thanks to some snappy and surprisingly visceral hand-to-hand combat choreography – and in reviving Cap's old war buddy Bucky Barnes as a mind-wiped assassin, it thrillingly evolves one of the MCU's most enduring, complex friendships. Throw in Robert Redford and a brilliant Nick Fury car chase, and this is a modern action-thriller classic – Marvel pic or not.Read the Empire review.

How do you resolve the biggest movie cliffhanger since The Empire Strikes Back, and offer a sense of closure in a series largely defined by its continuous nature? The answer is Endgame – part time-travel adventure, part victory lap, part epic showdown that sees the remaining Avengers go all-out to revive their dusted pals and defeat Thanos once and for all. Packed with surprising moments, a considerable sense of consequence, and jaw-dropping decade-in-the-making payoffs, it pulls off an incredibly satisfying climax that does right by its central heroes.Read the Empire review.

Dread it, run from it, Infinity War arrives at number one all the same – a blockbuster that unites every corner of the Marvel Cinematic Universe and pays off the franchise's greatest villain: the mad titan Thanos. From its opening Asgardian assault, Infinity War is incredibly assured, propelled forward with a narrative confidence that's thunderously exciting, funny, and dramatic from moment to moment. Despite its monolithic heft, the film is fleet-footed, puncturing the portent with hilarious dialogue and giddy character interactions while never undermining the stakes. It's a high wire act that remains genuinely dazzling, and when that ending comes around – a generation-defining cultural moment of a cliffhanger – it still cuts just as deep, even knowing what comes next.Read the Empire review.