Top 20 Best Prequel Movies

The opening of the second movie already revealed what happened to the Abbott family on day one of the alien invasion. This event was bigger than the Abbotts, however. If a prequel is gonna go bigger, what better locale than New York? Watching “A Quiet Place: Day One,” we experienced déjà vu. Not of the previous two films per se, although there are some familiar beats. Mainly, though, we were reminded of various real-world tragedies. Early scenes are reminiscent of September 11 as a seemingly normal day spirals into panic. Seeing the urban streets abandoned later in the film is also reminiscent of New York at COVID’s peak. These parallels add to the intensity, but Lupita Nyong'o and her cat see us through it.

Released a year after “Twin Peaks” was prematurely canceled and 25 years before the revival, “Fire Walk with Me” chronicled the final week of Laura Palmer’s life. If you were hoping this prequel would make sense of the series’ more baffling elements, it’s David Lynch. The film is more in the vein of Season 2 than Season 1, which might be why it initially split audiences. Since then, though, it’s been cited as one of Lynch’s finest works with organizations like the British Film Institute ranking it among the best movies of the 90s. Even if we don’t entirely understand her journey, the film develops Laura from a deceased teenager to a fleshed-out character we identify with, making her inevitable fate all the more tragic.

After… whatever “Hannibal” was, Anthony Hopkins restored dignity to his career-defining role in “Red Dragon” - the second adaptation of Thomas Harris’ novel. Edward Norton’s Will Graham might not be Clarice Starling, but he has his own intriguing connection to Dr. Lecter, being the one who captured him. As such, we’re never sure if Lecter is helping Graham or setting up his downfall. While just as creepy, Francis Dolarhyde is a much different beast than Lecter or Buffalo Bill. Dolarhyde attempts to combat the voices in his head while falling in love with a woman who literally can’t see the monster in front of her. Alas, he can’t help himself. Although Lecter is the main course, the new characters season this prequel into a satisfying meal.

Set before 2014’s “Godzilla,” “Kong: Skull Island” takes place during the final years of the Vietnam War. You can certainly see how “Apocalypse Now” influenced the filmmakers. Instead of Marlon Brando, though, King Kong lurks within the jungle. Honestly, we’re not sure which sounds more horrifying. While the human characters aren’t phenomenal, they are among the most likable in the MonsterVerse, especially John C. Reilly as a soldier who has been stranded on the island since World War II. Of course, we’re primarily here for the monsters and this version of Kong is established as an imposing foe who can convincingly hold his own against Godzilla someday. Despite being more focused on action-adventure, there’s still room for the heart we’d expect from a “Kong” movie.

Generations before Katniss volunteered, Coriolanus Snow took his first steps toward seizing control of Panem. Unlike some other adaptations, the studio refreshingly didn’t stretch out Suzanne Collins’ prequel novel into a multi-part film. That’s not to say we wouldn’t mind seeing Tom Blyth reprise his role as a young Snow. As a standalone story, “Songbird & Snakes” provides more nuance than we ever expected to see from a character who - at the end of the day - is irredeemable. Equally integral to the film’s success is Rachel Zegler as Lucy Gray Baird, who brings out the best and worst in Snow. That said, there’s far more bad than good in Snow, amounting to a villain origin story that doesn’t cop out by making the villain too sympathetic.

“Bumblebee” was the first modern “Transformers” movie that Michael Bay didn’t helm, which is apparent in virtually every scene. Gone are the excessive fast-cuts, offensive stereotypes, and objectification of women. While there’s still plenty of action, it’s balanced with a thoughtful story about a young woman and her robot. Showing how Autobot Bumblebee arrived on Earth in 1987, the film possesses echoes of 80s classics like “E.T.,” not to mention period pieces like “The Iron Giant.” Although not on the same level as those films, “Bumblebee” is a blockbuster with heart thanks to Travis Knight’s kinetic direction and Hailee Steinfeld’s lovable performance. It’s among the few “Transformers” movies that make us care about the human characters, proving to be more than meets the eye.

On the surface, “Rogue One” might seem like the most extravagant retcon in cinematic history. To an extent, it is, although by the time we arrive at the exhilarating climax, justifying the Death Star’s fatal design flaw is an afterthought. We’re more caught up in the experience of “Rogue One,” which emphasizes the “War” in “Star Wars” like few other films have. The final act doesn’t just make the audience feel the intensity of combat, but the sacrifices inevitably attached to every war. The Disney era of “Star Wars” has been hit-and-miss with some feeling the series has played it too safe. This prologue to “A New Hope” took chances that paid off, making for one of the franchise’s most mature and unique outings.

The “Fast and Furious” timeline gets surprisingly convoluted. Movies four through six occur before “Tokyo Drift” when Han “died” - we say with the heaviest of air quotes. Thus, we got a prequel trilogy in the middle of the “Fast Saga.” Aside from being a series high point, “Fast Five” marked a significant turning point. The film not only brought back several fan-favorite characters, but fans played a part in landing Dwayne Johnson the role of Luke Hobbs. New dynamics were introduced along with new directions. The franchise went all in on the heist angle, making street racing more of a side project for Dom’s crew. It set a new standard for over-the-top action as well with every entry since trying to outdo the vault setpiece.

It seemed like a traditional slasher flick, but there was something different about 2022’s “X.” Part of that is thanks to Mia Goth’s dual performance as Maxine and the elderly Pearl. To the surprise of viewers, Pearl’s backstory would be the focus of another film released that same year. Goth returns as a youthful, wide-eyed Pearl with aspirations of stardom. Reflecting her Technicolor dreams, the gritty 70s aesthetic is traded for something out of “The Wizard of Oz” - and no scarecrow is safe. Few films have been this bloody while looking so beautiful, playing like a classic musical with more murder than music. Goth again brings that X factor as a woman descending deeper into madness the further she drifts away from her life goals.

Some prequels take place years, even decades before their predecessors. “Mallrats,” meanwhile, occurs only a day before “Clerks,” establishing Kevin Smith’s View Askewniverse. In the opening scene, we learn more about how Dante’s ex-girlfriend Julie died. With Julie’s memorial a day away, the film follows our characters to the mall where they engage in misadventures with familiar faces like Jay and Silent Bob. Despite not being a success upon release, “Mallrats” has deservingly etched out its status as a cult classic thanks to Smith’s quotable dialogue, relatable observational humor, and the OG Stan Lee cameo. Although more colorful than “Clerks” (quite literally), “Mallrats” also authentically captures the mindset of 20-somethings navigating through life as they waste time in an exceptionally ordinary environment.

We’re doing a prequel (yes, this technically is one)! Coming out at the height of “The Muppet Show’s” popularity, Jim Henson and director James Frawley unveiled how this band of misfits became rich and famous. Or at least “approximately” how it happened. This movie within a movie is in the spirit of the show’s offbeat comedy bits, celebrity encounters, and musical numbers, most notably “Rainbow Connection.” Unlike the show, the film follows a three-act structure that sends Kermit on a road trip, making new friends along the way. Henson’s crew takes full advantage of the cinematic landscape, allowing Kermit to ride a bicycle and partake in other innovations. The effects don’t overshadow the film’s heart in a story about the magic of camaraderie and moviemaking.

Hitting the silver screen between the animated series’ first and second seasons, much of “Mask of the Phantasm” takes place in the present. The heart of the story resides in the past, however. We know why Bruce Wayne became a vigilante. Through flashbacks, though, we’re given a glimpse into a crucial turning point. Not long before donning the cape and cowl, Bruce finds true happiness with a woman named Andrea Beaumont. Torn between love and duty, Bruce tries putting his needs before Gotham, but destiny gets in the way. Drawing inspiration from “Citizen Kane,” the film is romantic, tragic, and driven by a gripping mystery. At the same time, this is superhero storytelling at its finest, complete with the ultimate Batman masking scene.

Almost every “Predator” follow-up has struggled to reach the heights of the 1987 classic. Weirdly enough, the installment that came the closest to matching the original’s impact is the one that deviated the most from what audiences anticipated. Sure, “Prey” has all the essential ingredients like a badass protagonist, an unforgiving outdoor environment, and an elusive enemy. Yet, few could’ve foreseen this franchise traveling back to the 18th century where a Native American tribe goes from hunters to hunted. Killing a Predator with assault rifles is challenging enough. Taking one on with axes and arrows sounds absurd, but weapons don’t make the warrior. The warrior is the true weapon, which Amber Midthunder’s Naru proves in a prequel that takes “Predator” back to its primal roots.

Fans remain divided on the “Star Wars” prequel trilogy, but people share the most common ground when it comes to “Revenge of the Sith.” Even the prequel naysayers generally seem to agree that this third installment has some of the franchise’s most creative action, emotional confrontations, and haunting imagery that sticks with us years later. Awkward dialogue and rushed moments aside, the film ultimately delivers on what we were promised six years earlier: Anakin Skywalker transforming into Darth Vader. We also see Ian McDiarmid go full Emperor while Ewan McGregor’s Obi-Wan Kenobi grapples with his greatest failure. For a trilogy that started on a more kid-friendly note, we commend George Lucas for bringing this story to its appropriately grim (yet hopeful) conclusion.

Just when you thought “X-Men” was beyond repair, director Matthew Vaughn restored our faith with a first-rate origin story. Filling Patrick Stewart’s chair and Ian McKellen’s helmet is no easy task, but James McAvoy and Michael Fassbender flawlessly stepped into the roles of Charles Xavier and Erik Lehnsherr. The plot effectively establishes the duo’s friendship turned rivalry as the gap between their worldviews grows wider and wider. For those who grew up watching the animated series, this prequel felt closer to classic “X-Men” with brighter spandex and quippier humor without skimping on the compelling real-world parallels. Continuity-wise, some inconsistencies are hard to overlook. Coming off “The Last Stand” and “X-Men Origins: Wolverine,” though, going back in time was an enormous step forward.

How ironic that in a film entitled “Batman v Superman,” Wonder Woman would steal every scene she was in, leaving the audience wanting more of her. Thankfully, we wouldn’t have to wait long to get Diana Prince’s origin story. Comic-wise, director Patty Jenkins found the ideal blend between William Moulton Marston’s original creation and modern interpretations of the character. Jenkins also infused the film with a genuine World War I flare, calling “All Quiet on the Western Front to Mind.” For all the supernatural elements, the film gets to the root of war, as well as the root of humanity, unearthing our capacity to hate, but also our capacity to love. Few superhero love stories are more heartbreaking yet uplifting than Diana and Steve Trevor’s.

Sometimes, the less we know, the better. We feared that by portraying Furiosa’s backstory, George Miller would take away from her mysticism. Although this prequel reveals pretty much everything about Furiosa’s past, including how she lost her arm, it doesn’t hold our hand throughout. Rather, it thrusts us back into this post-apocalyptic world, relying on the audience to keep pace with Miller’s wild vision. Staying true to “Fury Road’s” visual storytelling, Furiosa gets more across through Anya Taylor-Joy and Alyla Browne’s expressions than dialogue. That said, the film is full of memorable lines, many courtesy of Chris Hemsworth’s demented Dementus. While more meditative than “Fury Road,” “Furiosa” is another high-octane thrill ride that’s miles ahead of most prequels and summer blockbusters in virtually every department.

If you asked someone to list the “Indiana Jones” movies in chronological order, chances are they’d say “Raiders of the Lost” first. People often forget that “Temple of Doom” takes place in 1935, a year before “Raiders.” Not wanting Nazis to be the main antagonists again, George Lucas suggested a prequel set in India. This opened the franchise to new locales, threats, and possibilities for adventure. The film also introduced new themes that see Indy evolve as a character. This is a colder Indy who’s more concerned with “fortune and glory” in the beginning, but fights for a greater cause by the end, which carries over in “Raiders” and “Last Crusade.” It’s an old-school adventure with more going on underneath the skin than you realize.

Considered by many to be the greatest sequel of all time, “The Godfather Part II” is just as much a prequel. As Michael establishes himself as head of the family in the present, we see how Vito Corleone became the Don in the past. Through Robert De Niro’s Oscar-winning performance, Vito rises from a poor Italian immigrant to a criminal who embodies the dark side of the American Dream. Vito effortlessly transitions between mercilessly killing one minute and embracing his family the next. While both men are violent, Michael can’t strike a balance like his father. The more powerful Michael becomes, the more he loses sight of his father’s words: “A man that doesn’t spend time with his family can never be a real man.”

Before we unveil our top pick, here are a few honorable mentions.

“Monsters University” (2013)
The G-Rated Frat House Comedy “Monsters, Inc.” Fans Didn’t Know They Wanted

“Mamma Mia! Here We Go Again” (2018)
A Prequel/Sequel to the Musical Hit? How Can We Resist You?

“The Hobbit: An Unexpected Journey” (2012)
A Solid Start to an Uneven Yet Worthwhile Prequel Trilogy

“Prometheus” (2012)
Another Reason Michael Fassbender Should Be in Every Prequel

“Annabelle: Creation” (2017)
A Prequel to a Prequel That’s Way Better Than The Last Prequel

Even the best prequels tend to live in the shadows of their predecessors. “The Good, the Bad and the Ugly,” on the other hand, felt like the culmination of everything Sergio Leone was working toward following “A Fistful of Dollars” and “For a Few Dollars More.” Where those were set after the American Civil War, this film places Clint Eastwood’s “Man with No Name” smackdad in the middle of the conflict. The real war is the one brewing between the titular embodiments of the good, bad, and ugly as all three race to claim $200,000 worth of Confederate gold. With iconic shots, riveting character dynamics, and a theme that epitomizes the entire spaghetti western genre, it’s a triumphant finale that’s truly just the beginning.

What’s your favorite movie prequel? What movies do you think deserve a prequel? Let us know in the comments.