List of Mob Cinematic Universe films

Mob Cinematic Universe films
Artwork for "The Infinity Saga Collector's Edition" box set
Based on	Characters published by Marvel Comics DC Comics Mob Comics
Produced by	Freddie Goodwin Ryan Reynolds (DP&W)
Starring	See below
Production company	Mob Productions
Distributed by	Walt Disney Studios Motion Pictures (2024–present)
Release date	2024–present
Country	United States
Language	English
Budget	Total (4 films): $885 million
Box office	Total (4 films): $2.864 billion

The Mob Cinematic Universe (MCU) features a list of American films and series superhero films produced by Mob Productions based on characters that appear in publications by Marvel Comics, Mob Comics, and DC Comics. The MCU is the shared universe in which all of the films are set. The films have been in production since 2019, and in that time Mob Productions have had multiple films in various stages of development.

The films are written and directed by various individuals and feature large, often ensemble, casts. Mob Productions president Freddie Goodwin has produced every film in the series alongside Ryan Reynolds for Deadpool & Wolverine (2024).

Mob Productions releases its films in groups called "Phases", inspired by Marvel Studios' MCU. The films are distributed by Walt Disney Studios Motion Pictures, who have been since 2024 with Deadpool & Wolverine (2024).

Phase One includes Deadpool & Wolverine (2024), The Fantastic Four (2024), Doctor Doom (2025), and The Wolverine: Rebirth (2025) and Ascendants (2026). Phase Two is set to begin with Deadpool 2 (2026), Iron Man (2026), Blade (2027), and The Fantastic Four: Doomworld (2027).

Alongside the films, there are a bunch of Disney+ series released for each Phase. Phase One began with Impulse (2025), Ajax (2025), Moonknight (2025), Young Justice (2025), and will conclude with Crisis on Infinite Earths (2025).

Development

Films and Disney+ series

By September 2012, SOI Studios president Freddie Goodwin was in talks with Warner Bros. and Mob Productions in merging the two companies to create television and films under one brand name. The deal was delayed multiple times because of agreement differences with both presidents of the two companies. During the April 2013 public online presentation, Goodwin announced he had been working hard with the other company to come to a good deal.

In June 2016, it was publicly announced that SOI Studios would merge with Mob Productions with Goodwin retaining the role of president. In 2018, multiple leaks had revealed a Deadpool and Wolverine film projects. Goodwin publicly confirmed the films and stated the three films will all be part of "Phase One".

In 2020, Ryan Reynolds was announced to reprise his role as Wade Wilson with other cast members from Deadpool (2016) and Deadpool 2 (2018). Goodwin stated that the film would feature different aspects of the first two films that Reynolds had made and turn the material into MA15+ material, feeling the need to create something that isn't R18+ right away.

During production on Deadpool 2 (2018), a reboot for the MCU was being planned by Mob Productions with Freddie Goodwin attached to write the screenplay. In June 2021, Ryan Reynolds was confirmed to be reprising his role as Wade Wilson/Deadpool in the film. Development on the first film was mixed with a potential second film as confirmed in June 2022.

In 2022's SDCC, Goodwin confirmed the entire Phase One slate: Doctor Doom, The Fantastic Four, a Deadpool film, a Wolverine film, and a team-up film based on a team of Mutants. By the end of the year, the Deadpool and Wolverine films had been merged and titled Deadpool & Wolverine.

After the critical and commercial failure of the 2015 film Fantastic Four, co-written and directed by Josh Trank and based on the Marvel Comics superhero team of the same name, 20th Century Fox began looking at new directions to take the franchise. Having also produced two earlier Fantastic Four films directed by Tim Story a decade prior, the studio did not want to just make another Fantastic Four film. By June 2017, Seth Grahame-Smith was writing a new film that would shift focus to Franklin and Valeria Richards, the children of original Fantastic Four leaders Reed Richards and Sue Storm. Taking inspiration from the Ultimate Fantastic Four comic books, the screenplay included original Fantastic Four members the Thing and the Human Torch, and was described as "kid-centric" with a tone closer to The Incredibles (2004) than Trank's darker film. The basis of the screenplay came from a separate script that Carter Blanchard had adapted from the children's book Kindergarten Heroes by Mark Millar. Millar previously consulted with Fox on their Marvel-based films. In July, Noah Hawley, who had created the Marvel Television series Legion, was hired to develop a separate film focused on Doctor Doom, the Fantastic Four's primary antagonist. The Walt Disney Company officially acquired 21st Century Fox in March 2019 and gained the film rights for the Marvel Comics characters that Fox controlled, including the Fantastic Four, for its subsidiary Marvel Studios. The Marvel-based films that Fox had been developing were placed "on hold".

20th Century Fox began work on a new Fantastic Four film after the failure of Fantastic Four (2015). After the studio was acquired by Disney in March 2019, control of the franchise was transferred to Marvel Studios, and a new film was announced that July. Jon Watts was set as director in December 2020, but stepped down in April 2022. In 2022, it was announced that the film that Marvel was originally developing had been given to Mob Productions to include in the Mob Cinematic Universe. New writers Julianne Crestwood, Marcus V. Ellington, and Eliza Thornhill joined the project to rewrite the film and filming was completed in 2023. Mob Productions wanted to bring a third team into the universe to make things more interesting.

After the critical and commercial failure of the 2015 film Fantastic Four, co-written and directed by Josh Trank and based on the Marvel Comics superhero team of the same name, 20th Century Fox began looking at new directions to take the franchise. Having also produced two earlier Fantastic Four films directed by Tim Story a decade prior, the studio did not want to just make another Fantastic Four film. By June 2017, Seth Grahame-Smith was writing a new film that would shift focus to Franklin and Valeria Richards, the children of original Fantastic Four leaders Reed Richards and Sue Storm. Taking inspiration from the Ultimate Fantastic Four comic books, the screenplay included original Fantastic Four members the Thing and the Human Torch, and was described as kid-centric with a tone closer to The Incredibles (2004) than Trank's darker film. The basis of the screenplay came from a separate script that Carter Blanchard had adapted from the children's book Kindergarten Heroes by Mark Millar. Millar previously consulted with Fox on their Marvel-based films. In July, Noah Hawley, who had created the Marvel Television series Legion, was hired to develop a separate film focused on Doctor Doom, the Fantastic Four's primary antagonist. The Walt Disney Company officially acquired 21st Century Fox in March 2019 and gained the film rights for the Marvel Comics characters that Fox controlled, including the Fantastic Four, for its subsidiary Marvel Studios. The Marvel-based films that Fox had been developing were placed "on hold".

In June 2019, Goodwin, the visionary leader at Mob Productions, strategically outlined a robust expansion plan involving the development of six additional Phases following the conclusion of Phase Three. This expansive roadmap showcased a detailed and structured vision, designed to further evolve and enrich their cinematic universe over the coming years.

On July 13, 2024, Freddie Goodwin released a 90-minute presentation across all major platforms, outlining the future of his cinematic universe. During the broadcast, he revealed that the first two films of the slate had already completed filming. Goodwin went on to announce several upcoming titles, including a major crossover event film titled The X-Men Chronicles, scheduled for release in 2027. He also confirmed that a Doctor Doom solo film and a project titled The Mutants were both in active development. According to Goodwin, The Mutants would serve as the final entry in Phase One and officially launch the larger narrative arc known as The Mutant War Saga.

On December 7, 2024, Goodwin announced that Sunfire x Dazzler: The Mutant Face-Off was no longer in development and had been officially canceled. He also confirmed that Ascendants had been delayed to November 23, 2025. On April 10, 2025, Goodwin announced that a full slate of films from both Phase Two and Phase Three would be officially revealed in July during the Comic-Con event. The presentation is expected to include release dates, titles, and key information for each project.

Films

Mob Productions releases its films in groups called "Phases".

Phase One

Main article: Mob Cinematic Universe: Phase One

Film	U.S. release date	Director	Screenwriter(s)	Producer(s)	Status
Deadpool & Wolverine	February 8, 2024	Freddie Goodwin	Freddie Goodwin, Benjamin Knowles, Sara Case, Patrick Reid	Freddie Goodwin & Ryan Reynolds	Released
The Fantastic Four	July 28, 2024	Jackson Miller	Sara Case & Patrick Reid	Freddie Goodwin
Doctor Doom	January 3, 2025	Wilma Zimmerman	Wilma Zimmerman, Myla Salazar, Sara Case, Patrick Reid, Ethan Morland, and Clara Redwood
The Wolverine: Rebirth	March 11, 2025	Wilma Zimmerman
Ascendants	February 12, 2026	Finnian Hawke	Ulysses Black		Post-production

Phase Two

Main article: Mob Cinematic Universe: Phase Two

Film	U.S. release date	Director	Screenwriter(s)	Producer(s)	Status
Deadpool 2	May 21, 2026	Lyra Stormwind	Natalie Kingsley, Oliver Greenfield, Penelope Frost, Quentin Hart, Rebecca Wells, Samuel Preston	Freddie Goodwin	Post-production
Blade	September 24, 2026	Freddie Goodwin	Oliver Greenwood
Iron Man	TBA	TBA	TBA		Filming
The Fantastic Four: Doomworld	November 26, 2026	TBA	TBA

Future

Film	U.S. release date	Director(s)	Screenwriter(s)	Producer(s)	Status
Captain Marvel	2027–2028	James Gunn	James Gunn, Freddie Goodwin, Ethan Morland	Freddie Goodwin	In development
Untitled Ascendants Sequel	TBA	TBA	Freddie Goodwin & Ryan Reynolds	Freddie Goodwin & Ryan Reynolds

At any given time, Mob Productions has future films planned five to six years out from what they have announced. By April 2014, additional storylines were planned through 2028, with MCU films through 2032 being planned by April 2022.

Captain Marvel

Captain Marvel will be directed by James Gunn whilst the screenplay is currently being written by Gunn, Goodwin and Ethan Morland. Captain Marvel will be released in either 2027 or 2028, with a chance of releasing in a future unannounced phase.

Untitled Ascendants Sequel

The Untitled Ascendants Sequel is in early stages of development and is being written by Goodwin and Reynolds.

Television series

Phase One

Television series of Phase Four

Series	Season	Episodes		Originally released		Network	Showrunner	Status
				First released	Last released
Impulse	1	9		September 10, 2024 (2024-09-10)	November 12, 2024 (2024-11-12)	Disney+	Freddie Goodwin	Released
Ajax	1	4		December 17, 2024 (2024-12-17)	January 14, 2025 (2025-01-14)		Jackson Greene, Freddie Goodwin
Moonknight	1	6		February 18, 2025 (2025-02-18)	April 1, 2025 (2025-04-01)		Freddie Goodwin
Young Justice	1	5		March 7, 2025 (2025-03-07)	April 11, 2025 (2025-04-11)
Crisis on Infinite Earths	1	5		July 18, 2025 (2025-07-18)	TBA		Freddie Goodwin, Jackson Greene, Lucas Everett, Maya Thompson	Post-production

Phase Two

Television series of Phase Five

Series	Season	Episodes		Originally released		Network	Showrunner	Status
				First released	Last released
Black Panther	1	TBA		April 22, 2026 (2026-04-22)	TBA	Disney+	TBA	In-development
Spider-Man: Lord of Times	1	8		July 6, 2026 (2026-07-06)	TBA		Amy Pascal, Kathleen Kennedy

Series approach

Initial approach to television

Goodwin, the creative lead behind the MCU, has overseen a distinctive approach to integrating television series into the franchise. Beginning in 2021, Mob Productions embraced streaming as a platform for expanding its universe beyond film, with series developed for platforms like Disney+. Goodwin explained that streaming allowed for flexibility in both format and narrative structure. Some series were designed as self-contained miniseries meant to directly set up future films, while others were envisioned as multi-season arcs that ran in parallel with the films, often with long gaps between seasons—drawing comparisons to shows like Game of Thrones and Stranger Things. Goodwin emphasized that each season or miniseries was treated as a cinematic event, generally aiming for around six hours of total content. This structure varied by project—some used six hour-long episodes, while others opted for nine shorter episodes. Budgets typically ranged from $100 million to $150 million, with flagship series exceeding $200 million. The high production costs were largely due to cast salaries and heavy reliance on visual effects. Mob’s early slate of series—such as Impulse and Ajax—followed a film-like structure, giving characters one defined arc across a tightly serialized story. Later shows, like Young Justice and Crisis on Infinite Earths, began experimenting with more episodic storytelling and larger ensemble casts.

Mob Productions initially avoided the traditional "showrunner" model, instead using the term "head writer" and encouraging close collaboration between writers and directors. Directors were often involved from early development and participated in writers’ room discussions, mirroring the creative pipeline used on the MCU films. Junior executives, many of whom had worked on earlier films in production roles, served as liaisons between writers, directors, and Goodwin himself. Final creative authority for each series rested with Goodwin, who remained actively involved in key decisions across the slate. This collaborative but hierarchical approach was described as efficient by series directors and writers. Shows such as Impulse, directed entirely by Goodwin, benefited from a unified vision. Others, like Crisis on Infinite Earths, employed multiple directors with split duties across episodes, driven by scheduling demands and varying story needs. In most cases, the head writer had final script approval before filming began, after which the director assumed greater creative control during production and post. Head writers typically remained involved through post-production to oversee rewrites and continuity adjustments.

Overhaul of television operations

Between 2024 and 2025, the cinematic universe under Goodwin’s leadership underwent a significant transformation in its television strategy. Following a wave of overproduction, inconsistent storytelling, and ballooning costs, Goodwin began to overhaul how television content was developed and delivered. The early approach—where every series was treated as a six-hour cinematic event designed to tie directly into theatrical films—was no longer sustainable. Creative burnout, tonal disarray, and a lack of long-term planning began surfacing across multiple in-development shows. At the height of the problem, projects such as Impulse (Season 2), What If..., Exotic Adventures, Black Panther, Doctor Strange, The Adventures of the Speed Force, Spider-Man: Lord of Times, and Warmachine were all either in limbo or suffering from narrative and logistical misalignment. With multiple timelines colliding, characters overlapping without purpose, and budgets spiraling out of control, the weight of the interconnected universe began to collapse inward.

Goodwin, known for his cinematic ambition, was the first to admit that the strategy was flawed. In a candid internal memo, he described the first wave of series as “an ecosystem where everything fed everything—except the audience.” He noted that viewers were struggling to keep up, creators were restricted by mandatory tie-ins, and stories were being stretched to fit formats they were never meant for. The failure of Exotic Adventures, which reportedly burned through over $120 million before being shut down in post-production, became a symbol of excess. Similarly, Warmachine was shelved after creative teams failed to unify its political thriller premise with the universe’s increasingly multiversal tone. In response, Goodwin initiated a complete pivot: moving away from cinematic-style miniseries toward traditional, showrunner-led television. Each series would now begin with a pilot script and a full series bible, and no production would be greenlit unless the story stood on its own merits—regardless of franchise connections.

At the same time, pressure from Disney intensified. Amid broader cost-cutting across its streaming division, Disney slashed television budgets and demanded a shift toward sustainability. Several projects were halted entirely, while others—like Doctor Strange and Black Panther—were repurposed with smaller scopes and a clearer narrative focus. Goodwin emphasized that spectacle was no longer the goal; story was. In a 2025 interview, he stated, “We were trying to build universes when we hadn’t finished building television. That’s on me.” The shift toward a more traditional model was also inspired by the quiet success of Impulse Season 2, which was developed with a single showrunner, leaner structure, and minimal crossover requirements. Unlike earlier series, it finished on time, under budget, and with strong internal feedback—something few other projects could claim.

By early 2025, Goodwin had implemented new rules: no more “backdoor film setups,” no more six-hour movie formats disguised as television, and no more greenlights based solely on franchise potential. Series like What If... were redesigned as anthology experiments, free from continuity obligations. The Adventures of the Speed Force was rebuilt into a character-focused episodic format, while Spider-Man: Lord of Times was delayed and scaled back to allow room for a restructured arc. From this point forward, each series would live or die by its pilot. If it wasn’t strong enough to stand alone, it wouldn’t be made. Goodwin also announced a hard cap on output: no more than three live-action series would be produced per year, ensuring tighter quality control and more deliberate scheduling.

By May 2025, only a select few projects remained active. Impulse continued forward with a clear path. Doctor Strange was reimagined as a serialized mystical procedural. What If... gained a new creative team. Others were either placed on indefinite hold or absorbed back into the film division for potential reworking. Goodwin delegated day-to-day oversight of television to newly promoted executive Maya Thompson, who was tasked with establishing a “seasonal cadence” that audiences could rely on—replacing the unpredictability and content fatigue that had plagued the early years. With this shift, Goodwin returned his focus entirely to the feature film slate, now confident that the television side had a structure capable of sustaining itself without collapsing under the weight of cinematic expectations.

The reset marked the end of an era defined by ambition and overreach, and the beginning of one grounded in clarity, sustainability, and creative discipline. For Goodwin, it was less about shrinking the universe and more about saving it—one focused season at a time.

Abandoned or paused projects

In February 2025, Freddie Goodwin initiated a decisive restructuring of his cinematic universe’s television slate, marking the largest wave of cancellations and creative pauses since the franchise expanded into streaming. The move followed ongoing cost-cutting directives from Disney and came in response to concerns about quality control, audience retention, and development overload. With too many shows competing for attention and internal resources, Goodwin made the call to eliminate or delay several projects that no longer aligned with the refined long-term vision. Among the casualties was Warmachine, a politically-charged thriller centered on James Rhodes that had struggled to find tonal balance after multiple rewrites. Originally intended to explore the aftermath of global arms trafficking in a post-Ascendants world, the project ballooned in scope and budget, eventually stalling out in early pre-production. With no strong creative direction and increasingly unclear relevance to the wider narrative arc, the series was officially canceled.

Exotic Adventures, an interdimensional road-trip comedy that was being developed as a genre experiment, was also shelved indefinitely. While initial concepts were received enthusiastically for their originality, the series was deemed tonally inconsistent with the current direction of the universe. Its detachment from key characters and core events made it an easy candidate for removal. What If..., initially planned as an anthology extension of alternate universe events, was also canceled. While its animated format allowed for narrative freedom, it suffered from falling viewership and increasing production delays. With the multiversal thread already being covered in other live-action projects, Goodwin confirmed that the series would not return for additional seasons.

Two other projects were placed on indefinite hold rather than outright canceled. Impulse (Season 2), though well-received during its first run, was considered redundant given its thematic overlap with other upcoming content. Insiders noted that while Goodwin respected its potential, the time wasn’t right for continuation. The Adventures of the Speed Force, which had encountered ongoing script and tone problems, was similarly paused to prevent further resource strain. Neither project was ruled out for revival, but neither remains in active development.

In contrast, Black Panther and Spider-Man: Lord of Times were explicitly spared from the cuts. Goodwin identified both as structurally and narratively vital to the post-Ascendants era. Black Panther was undergoing a structural revamp with new writers brought in to tighten continuity and scale, while Lord of Times remained in full development due to its multiversal implications and its role in setting up Phase Three's central arc. The cancellations marked a sobering but necessary correction to the franchise’s rapid expansion into television. Goodwin stated plainly in a press statement: “We greenlit too much, too fast. The lesson now is focus. We’re building stories to last—not to just exist.” The reshaped slate now favors fewer shows, with more oversight, clearer narrative function, and an emphasis on creative sustainability.

Recurring cast and characters

Main article: Mob Cinematic Universe Recurring cast and characters

The Mob Cinematic Universe (MCU) features a large ensemble of recurring characters portrayed by an expansive roster of actors, many of whom appear across multiple films and series. Ryan Reynolds stars as Wade Wilson / Deadpool, a mercenary with accelerated healing and a penchant for breaking the fourth wall. Initially introduced as a solo character, Deadpool later became central to the overarching multiversal storyline. Reynolds also portrays multiple variants of the character, including an unscarred, long-haired version and the canine-inspired Dogpool.

Hugh Jackman reprises his role as James "Logan" Howlett / Wolverine, depicting various versions of the character—including Old Man Logan, Patch, and a 1990s-inspired variant—as part of the multiverse narrative. Other mutants returning from the Fox-era include Aaron Stanford as Pyro, Tyler Mane as Sabretooth, and Jennifer Garner as Elektra. Characters such as Vanessa (Morena Baccarin), Blind Al (Leslie Uggams), Dopinder (Karan Soni), and Colossus (voiced by Stefan Kapičić) also reappear in multiple entries, maintaining continuity with earlier Deadpool installments.

Several major Marvel characters are introduced or reimagined within the MCU. Pedro Pascal portrays Reed Richards / Mister Fantastic, alongside Vanessa Kirby as Sue Storm, Joseph Quinn as Johnny Storm, and Ebon Moss-Bachrach as Ben Grimm / The Thing—forming the Fantastic Four. Julia Garner appears as Shalla-Bal / Silver Surfer, while Ralph Ineson plays the cosmic entity Galactus. The villainous arc is anchored by Mads Mikkelsen as Victor Von Doom / Doctor Doom, with additional antagonists including Alicia Vikander as Lucia Von Bardas, Christoph Waltz as Mister Sinister, and Barry Keoghan as Arcade.

The mutant storyline expands with Taron Egerton portraying a new variant of Wolverine, joined by Anya Taylor-Joy as Mystique, Paul Mescal as Sabretooth, Sadie Sink as X-23, and Jeremy Allen White as Gambit. Supporting characters include Sophie Thatcher as Rogue, Clancy Brown as Colonel Stryker, and Jeffrey Wright as Professor Charles Xavier.

The Ascendants arc within the MCU introduces an original team of heroes and antagonists. Chris Hemsworth stars as Kael Thorne / Stormborne, a lightning-wielding tactician burdened by leadership. Vanessa Kirby appears as Elira Voss / Mirage, a stealth operative who manipulates light. Letitia Wright plays Nyari Sol, a technopath capable of communicating with machines. Paul Rudd portrays Milo Creel / Skipjack, a rogue time-runner with humor masking trauma. Sebastian Stan returns as Dax Riven / Hollow, a bio-engineered soldier stripped of emotion, now seeking redemption.

Florence Pugh joins the cast as Syla Ryn / Widowthorn, a lethal assassin trained by a hidden order who uses venom-coated blades and psychological manipulation. Simu Liu plays Korran Sha / Skyburn, a volatile exiled prince wielding kinetic heat energy. Danny Ramirez portrays Jet Calder, an anti-gravity aerial specialist and reconnaissance expert. Pedro Pascal also appears as Solon Rhade / Architect, a master strategist with the power to construct physical structures from thought. Robert Downey Jr. plays Virex, the film’s central antagonist—an ancient being who seeks to collapse all timelines into a singular, logical order.

Release

Theatrical disttribution

The first film of Phase One, Deadpool & Wolverine was released on February 8, 2024 to all states at the same time. The second film, The Fantastic Four, was released on July 28, 2024. The third film, Doctor Doom, was released on January 3, 2025. The fourth film, The Wolverine: Rebirth, was released on March 11, 2025. Ascendants, the last film of Phase One and fifth film overall in the MCU is scheduled to be released on February 12, 2026.

Disney+ releases

All films from Phase One will become available on Disney+ one month following their release in cinemas. Deadpool & Wolverine became available on Disney+ on March 8, 2024. The Fantastic Four became available on Disney+ on September 21, 2024. Doctor Doom became available on Disney+ on February 12, 2025. The Wolverine: Rebirth became available on Disney+ on June 28, 2025.

Disney+ serves as the exclusive streaming platform for all television series within the universe. Impulse premiered on September 10, 2024, and concluded on November 12. Ajax followed, airing from December 17, 2024, to January 7, 2025. Moonknight premiered on February 18, 2025, and wrapped up on April 1, while Young Justice aired from March 7 to April 4, 2025. The final series of Phase One, Crisis on Infinite Earths, is scheduled to premiere on July 18, 2025.

Reception

Box office performances

Film	U.S release date	Box office grosses			Budget	Ref
		Domestic	International	Worldwide
Phase One
Deadpool & Wolverine	February 8, 2024	$230,676,069	$330,400,000	$561,076,069	$80 million
The Fantastic Four	July 28, 2024	$195,000,000	$301,740,000	$496,740,000	$150 million
Doctor Doom	January 3, 2025	TBA	TBA	$0	$220 million
The Wolverine: Rebirth	March 11, 2025	TBA	TBA	$0	$60 million
Ascendants	February 12, 2026	TBA	TBA	TBA	$375 million
Phase Two
Deadpool 2	May 21, 2026	TBA	TBA	TBA	TBA
Iron Man	July 28, 2026	TBA	TBA	TBA	TBA
Blade	September 10,	TBA	TBA	TBA	TBA
The Fantastic Four: Doomworld	October 19, 2026	TBA	TBA	TBA	TBA
Phase Three
Total		$1,097,861,934	$1,767,087,085	$2,864,949,019	$885,000,000

Critical and public response

Each film is linked to the "Critical response" section of its article.

Critical and public response of Mob Cinematic Universe films

Film	Critical		Public
	Rotten Tomatoes	Metacritic	CinemaScore	PostTrak
Phase One
Deadpool	87% (320 reviews)	80 (40 reviews)	B+	—
The Fantastic Four	—	—	—	—
Doctor Doom	—	—	—	—
The Wolverine: Rebirth
The Mutants	—	—	—	—
Phase Two
Sunfire x Dazzler: The Mutant Face Off	—	—	—	—
Deadpool 2	—	—	—	—
Adventures with Wolverine	—	—	—	—
The Four War	—	—	—	—
Phase Three
TBA	—	—	—	—
TBA	—	—	—	—
TBA	—	—	—	—
TBA	—	—	—	—
TBA	—	—	—	—

Accolades and critism

Main article: List of accolades received by Mob Cinematic Universe films

The films of the Mob Cinematic Universe have been nominated for numerous awards. However, it has caused the creation of hundreds of memes. The franchise has been given negative reviews for being too much like the Marvel Cinematic Universe.

Potential/Cancelled projects

These projects were in development as films from Mob Productions before being either cancelled:

• Sunfire x Dazzler: The Mutant Face-Off: Cancelled on December 7, 2024.