Superman/Batman: Public Enemies is the cinematic equivalent of a “greatest hits” album—exciting in bursts, but lacking the depth of a full studio record. It succeeds as a fast-paced action romp and a showcase for the unmatched Conroy-Daly chemistry. It fails as a coherent adaptation of a beloved comic, sacrificing character moments for fight scenes.
Beneath the superhero slugfests lies a clever commentary on fear-mongering, media manipulation, and public panic. Lex Luthor as a populist president (voiced with oily charm by Clancy Brown) feels more relevant now than in 2009. His use of a “metahuman threat” to consolidate power and turn allies into enemies mirrors real-world demagoguery. The subplot of Major Force murdering a hero to frame Superman adds genuine tension. Superman Batman Public Enemies -2009- -tmdbid-2...
Lex Luthor is the mastermind, but he’s sidelined until the finale. In his place, we get a parade of physical threats: Metallo (disposable), Amazo (too powerful, defeated too easily), and a secret Doomsday cameo that feels like fan service. The best villains are those who challenge the heroes ideologically, but Public Enemies favors punching over debating. Beneath the superhero slugfests lies a clever commentary
You want 67 minutes of non-stop DC superhero combat, love the World’s Finest dynamic, or miss the DCAU voice cast. Skip it if: You prefer slower, character-driven stories or are unfamiliar with the comic’s many cameos. The subplot of Major Force murdering a hero
Its sequel-adjacent film, Superman/Batman: Apocalypse (2010), which continues the story with a stronger focus on Supergirl.