Personally I also find Millar to be quite overhyped at times and his "big works" like Civil War aren't actually very good once you start applying even a little scrutiny.

CW1 only "worked" because Tony Stark, Reed Richards, and various others on the pro-registration side of things acted very out of character because the anti-reg side needed someone to actually go up again that provided both big names and a credible threat - remember one of the first questions that ever gets asked when multiple superheroes meet is "What would happen if they fight", and the MCU showed this almost immediately in The Avengers when within minutes of arriving Thor is fighting Iron Man and Captain America and then later on The Hulk.

If the entire superhero community united and stood against a non-superpowered individual like AOC then despite whatever retarded tribal-blue/public support the stand-in might have in the end said character would not only be utterly ineffective at actually stopping any of the superhero community, but also start losing PR points very fast if and when the superheroes simply stopped doing anything since various disasters that occur regardless of their presence can only ever be stopped by them.

The same scrutiny can be applied to the rest of his works but is something very evident in his recent "Millar-verse" finale event 'Big Game' which brings together every single comic he's written for Image Comics, Chrononauts, Kick-Ass/Hit-Girl, Kingsman, Night Club, Starlight, Superior, The Ambassadors, The Magic Order, and others, and kills off every hero, just to then use magic/time-travel to undo it all at the end.

Every death is gruesome and over the top because it was never going to matter. But that's more or less Millar's thing, hyperviolent content that may or may not matter or actually have some kind of story going on.

Of those various titles Superior is the one I would recommend the most since it's a short 6 issue run and stand alone from everything else, but then most of Millar's works are like that until the very recent tie-ins. Anyone who does read it will very quickly realise DC lifted the plot to the comic for another live-action adaptation, but the comic does it better in part because of pacing and not being tied to pre-existing story requirements.

For another similar experience JMS' Superman: Earth One is very likely where the Man of Steel movie took it's pointers from, but again was done better and should have been the story the DCU films went with, bringing in Zod later on rather than him off so quick and then going full Doomsday with him. Pacing was always a problem with the DCU, however.