Review – Batman v Superman: Dawn of Justice (2016)

bvsBack in 1986, as Superman star Christopher Reeve was prepping work on the ill-fated Superman IV: The Quest for Peace, he approached the writer of Superman I and II, the late, great Tom Mankiewicz, for advice. Reeve pitched Mankiewicz on his idea for Superman to rid the world of nuclear weapons, a parallel to real-world social issues of the time. Mankiewicz replied with this advice:

Don’t ever get involved with something Superman could fix. He could disarm the world in fifteen minutes. He doesn’t have to go to the UN. If he feels that strongly about it, he could get rid of all the missiles. Superman could feed the world if he wanted to. He could establish agricultural fields in outer space. Don’t bring up things like that.

I would like to add an addendum to that. Don’t get Superman directly involved with real-world issues. Do not twist his mission of peace into a political struggle. Do not bog him down with the ugliness of reality, the superfluity of man’s government, or the problems of democracy, especially at the expense of his message of hope, of inspiring the best in humanity.

I write this, because my many concerns over the past few years with director Zack Snyder’s approach to Batman v Superman were finally realized last month. Not only has the filmmaker indulged in all the above missteps, he’s delivered the most vile, morally reprehensible depiction of Superman and DC Comics on film to date. The film is a brutal assault on our senses, on the spirituality and idealism of these characters, on our intelligence as moviegoers, and on the vitality of quality filmmaking in big-budget studio tentpoles. It’s not just a disappointment; it’s a resolute misstep for the future of the DC Universe on film.

The film centers on a middle-aged Bruce Wayne (Ben Affleck getting first billing in a long history of big actors being billed before the guy playing Superman) who after witnessing Superman (Henry Cavill) and General Zod topple one of his company’s buildings at the end of Manbatman-v-superman of Steel two years ago, grows weary of such dangerous forces being left unchecked.  Rather than blaming the indulgences of the director in the previous film, we are to blame Superman for Metropolis’ destruction. Bruce’s fear is shared by a great deal of the public, who endlessly debate Superman’s heroics and the fact that he “answers to nobody.” Bruce returns to Gotham City plotting to neutralize, and kill if necessary, the Man of Steel, despite repeated claims by butler Alfred (Jeremy Irons) that “he is not our enemy.” “That son of a bitch brought the war to us!” replies Bruce. Blah blah post-9/11 themes.

Back in Metropolis, Clark Kent is living comfortably with fellow Daily Planet staffer Lois Lane (Amy Adams). I guess Lois knowing Clark’s secret identity from the get-go at the end of Man of Steel hasn’t yielded any interesting twists on their decades-long will they/won’t they relationship from the comics. Contrastingly, Superman has been entirely anti-social in public, saving the world yet not really interacting with it in any way beyond that for these two years. Meanwhile, wealthy philanthropist Lex Luthor (Jesse Eisenberg) plots to acquire the recently-discovered Kryptonite to control Superman, by manipulating a senator (Holly Hunter) and indeed everyone else around him. Oh, and there’s also other DC characters like Wonder Woman (Gal Godot) lying in the wait for the eventual Justice League movie.

It’s an overflowing plot, but there are traces of intrigue. Chris Terrio of Argo fame uses the characters as players in a larger piece about terrorism, power, corruption, and security, the groundwork of an intriguing political thriller. It is critical of heroes like Batman and Superman, examining their failings and the real consequences of their actions. It’s also a huge deviation from the reverence Snyder and his Man of Steel team showed for the universe in that film. In part to blame is perhaps the director’s long-standing love of Frank Miller’s seminal 1986 graphic novel The Dark Knight Returns; Snyder carts over that story’s older, world-wearier Batman, some talking-head-style political commentary, and perhaps intentionally or not, Miller’s own disdain for the Last Son of Krypton.

Indeed, Dawn of Justice continues the tradition of recent Superman media by placing the hero in no-win scenarios that go directly against the winning spirit the character has always been about. There is a scene wherein (avoiding spoilers) Superman enters a building and a bomb goes off, and Superman just watches somberly as everyone around him is vaporized. Uh, Zack? This is Superman. Not Doctor Manhattan.

That’s an issue I had with Man of Steel too, though to a lesser extent. The Superman mythology isn’t about “well, what if he were REAL? What if a humanoid that had all these powers came to earth?” I don’t care how the real world reacts to Superman’s presence. That’s not appealing to me. Superman is about fantasy, he’s an ESCAPE from the real world. He’s a guy flying around in a red cape who makes a difference in his community and inspires those Batman-V-Superman-Trailer-Fight-Heat-Visionaround him to pitch in themselves. Why is there debate about whether or not he’s doing the right thing? We KNOW he’s gonna do the right thing. He’s SUPERMAN. And yet here we are, watching Charlie Rose and Neil DeGrasse-Tyson (both make brief appearances) debate about a Superman that exists and whether or not his power should be checked. But this is a Superman that hasn’t even begun to build bridges with people publically, so he’s clearly failed in his mission. The Superman of the comics won people over with a smile and a wave as he flew above them. Pity Henry Cavill’s Superman isn’t allowed such joy, regulated to stand and mope idly about how people don’t understand him.

As for Ben Affleck’s Batman, he busies himself in these ridiculous, jarring dream sequences reflecting his fear of aliens from the sky. I had hope after one such sequence, wherein a bat-creature bursts from the tomb of Martha Wayne to attack him. It recalls the jump-scares of a horror movie, a cool new twist that might really transport audiences into Bruce’s tortured psyche. Yet the movie never goes anywhere with it, taking us into even more absurd (and immodestly-budgeted) nightmares, one of which is a full, unabashed teaser for the Justice League movie. Pity Affleck, who’s been suckered into this mess with the promise of redemption after the indignity of 2003’s Daredevil. The actor/filmmaker isn’t altogether unfitting in the cape and cowl, but is also far from the finest performer to fill it.

But I digress. After characters have waxed poetic enough, director Snyder yanks the film’s breaks and yells, “less talk, more EXPLOSIONS!” All political discussions or reflections on real-world politics (clumsy as they were) are gone, leaving all its ideas entirely unresolved, lost in Snyder’s blaring self-indulgence and Junkie XL and Hans Zimmer’s blatant, blaring, borderline parodical score. What of Scoot McNairy’s legless homeless guy? Why has Amy Adams’ role been all but reduced to damsel-in-distress? Shouldn’t Clark be getting in trouble every time Perry White (Lawrence Fishburne) passes by his empty desk? No answers here, we only have enough time left in the already bloated two-and-a-half hour runtime for the movie to live up to its namesake – the bout between Batman and Superman.

And…it sucks. Not only does Snyder fail to build up their conflict in any meaningful way, their fisticuffs aren’t satisfying, nor are they really even warranted in the context of the film. It’s seriously the weakest explanation for pitting these two characters against each other. And it was at this point in the movie, after suddenly becoming aware of the intense grimace on my face, I wondered, “aren’t I supposed to be having fun?”

Apparently not. There’s actually a really ugly undercurrent to Dawn of Justice, boasting such brutality, such bloodlust, such hyper-machismo bullshit that makes for the most uncomfortable, punishing experience. That’s not just during the title fight too, that’s the whole movie. Snyder and his cinematographer Larry Fong absolutely do not know when to stop with the hypermasculinity, when enough is enough, to the point where one starts to feel ashamed at being a man at all. It’s more than enough to build a case accusing Snyder, who also shoots the death of Bruce’s parents with all the slow motion and heavy breathing of a sex scene, of using DC Comics characters to work through his own crippling manhood issues.

The studio is even prepping an R-rated cut of this movie for home video release. That’s right, your favorite childhood comic book characters have been perverted into a movie that, without certain cuts, was deemed too violent and too intense by anyone under 17 years old. Wow.batman-v-superman-the-complete-guide-to-frank-miller-dark-knight

So inevitably, we know Batman and Superman are to resolve their differences at some point. And after all that thirst for blood, all that shoddy build-up, their altercation is capped off in the most mind-bogglingly stupid, overwhelmingly left-field conclusion, that literally any idea you, the audience, could come up with as to why these characters should stop fighting, will better qualify you to write this movie than the filmmakers being paid hundreds of thousands to do so.

And then they’re friends, as if nothing had happened, teaming up to destroy an even more laughably stupid threat. And if you thought this film would be answering for Man of Steel’s destructive climax, you’d be wrong, wrong, wrong. Batman v Superman doubles down on the needlessly high body count. In fact, in one scene Batman has the big baddie in a totally isolated area, but rather than returning to the city to bring the necessary tools to kill the baddie to him, he actually draws him BACK INTO THE POPULATED CITY to get HIM to the tools. Remember how Christopher Nolan’s Batman had that one rule about killing people? Apparently Zack Snyder doesn’t share that sentiment.

So we finally realize, Batman v Superman is a movie about uncomfortable extremes. Snyder has always been an overwrought mess of a filmmaker, favoring style over substance, but the responsibility of pitting together two beloved DC characters has done nothing to curb his sadist, ear-rapingly obnoxious hard-on for destruction. What the hell? Doesn’t this go against everything DC Comics characters have stood for the past 70 years? You bet. Both Batman and Superman are acting totally out of character here. Batman’s a crazy, single-minded bruiser who brands criminals and wants nothing short of Superman’s death, while Superman is totally willing to bend his own moral code if his family is threatened. In the comics, the two have had their quarrels, occasionally even violent ones, but they have never, ever been pushed to the point of foaming at the mouth, hungering for each other’s head on a spike like in this movie. Pity the children who have to witness such overt brutality by the hands of characters who should, ideally, be serving as their role models.

And again, pretty much all the problems posed by the movie would’ve been solved immediately had Superman simply TALKED OPENLY. A simple, “Bruce, we’re being played!” would’ve stopped the title fight altogether. And every single other problem of the movie could’ve been completely avoided had Superman simply stood up in front of the public after Man of Steel and been like, “Hey guys, my name’s Superman, I’m just here to help out with the problems you can’t solve yourselves and really just help everyone to do better. Sorry about that Zod character, he’s a bad guy on my home planet, and I was just trying to stop him. Next time we face a threat like this, I’ll do it in space or something so there’s not as many casualties. Again sorry, still new to the whole superhero thing. Anyway, up up and away and all that!” *woosh*

Boom. /conflict.

Even the other DC characters teased in this movie lack subtlety; they basically appear in mini-trailers for their upcoming solo movies. It’s a sad day when I’m longing for the more natural, thoughtful teases of Green Lantern.

I haven’t even mentioned Jesse Eisenberg, who gives the most abysmally misguided performance as Lex Luthor. Eisenberg, known for his mousy-yet-charming teenage characters in Adventureland and _1436830197Zombieland, is not only insanely miscast as the powerful billionaire, he’s clearly never even glimpsed a Superman comic long enough to know who this character is supposed to be. So he instead plays Luthor the only way he knows how – by going over-the-top awkward, hammy, and creepy, his hands shaking as he speaks about power at a charity event, stumbling over the girth of his words. There’s even a point at the end where he actually hums the notes of the musical score. It’s just uncomfortable, a lot like…well, Zack Snyder’s id – angry, unrestrained, bratty, unlikable, and sadistic.

And that’s pretty much Batman v Superman too, the Donald Trump of superhero movies – loud, blunt, ugly, stupid, fear-mongering, extremist, tasteless, and bearing several cringe-worthy teases of what’s to come. Zack Snyder was always the wrong architect for the DC Universe on film, merely a loud, annoying kid bashing his action figures together. I don’t think Tom Mankiewicz could’ve envisioned anything like it, but if he could see Dawn of Justice now, there is no doubt he’d be shaking his head, collecting his valuables, and leaving the theater. I’d be right behind him.

3.5/10

 

QUOTE: Rossen, Jake; Millar, Mark (2008-02-01). Superman vs. Hollywood: How Fiendish Producers, Devious Directors, and Warring Writers Grounded an American Icon (Cappella Books) (p. 164). Chicago Review Press. Kindle Edition.

IMAGES: cinemablend.com, mirror.co.uk, screenrant.com, cdn.idigitaltimes.com, i.ytimg.com

X-citing Changes: Highlights of Comic-Con 2015

ccdp“I’m touching myself tonight,” announces Ryan Reynolds’ Deadpool in front of a packed Hall H crowd of over 6,000 people. The Con posits a reminder in front of panelists their audience may be under 18, but that didn’t stop anyone from blowing the roof off the hall with hard language, innuendo, and brutally violent imagery.

And it was beautiful.

It’s the people going against the grain that elevate Comic-Con from a mundane gathering of smelly nerds worshipping at the feet of a bunch of contractually obligated stars, themselves shoved out into the spotlight to recite canned answers to banal questions and collect their paycheck.

Yeah, I’m letting my bitter old fuck side show again, but I did quite enjoy what I saw of this years’ festivities online. And for my annual coverage I’ll be going against the grain myself, limiting myself to a single post recapping the whole of what I got out of the Con, rather than laboriously recounting panels you’ve likely already read about elsewhere. Lots to cover, little time.

Supergirl pilot screening

While San Diego glimpsed the official premiere of CBS’ new superhero series by “Arrow” and “Flash” showrunner Greg Berlanti, I treated myself to the leaked pilot from months prior. “Supergirl” centers on Kara Zor-El (Melissa Benoist), sent to Earth from the dying planet Krypton just after her cousin Kal-El. But Kara is caught in the Phantom Zone and delayed in her arrival on Earth by 24 years, long enough for baby Kal to have already grown up into the Man of Steel. After some time to grow up herself, Kara now works in National City as a lowly coffee-fetcher, but is slowly beginning to follow in her cousin’s footsteps by using her powers to help others.

“Supergirl” owes a great deal to Richard Donner’s 1978 Superman: the Movie in tone, musical cues, design, and occasionally, cliché. Where the new cinematic Superman in Man of Steel abandoned Clark Kent’s mousy Bringing Up Baby routine, now “Supergirl” picks it up in its stead. Your mileage on that may vary, thoughSupergirl_Promo_SG6F30H_587252_640x360 undisputedly, every player in the pilot gives a pretty solid performance handling the usual clunky pilot writing, complete with Kara doing “woman things” like picking out what to wear on a date with an online match.

In the funny books, Supergirl is an inherently silly Silver-Age spinoff of the Superman mythos. She does all the same things the Man of Steel can do, except she’s a woman. “Supergirl” makes a valiant effort to remove the character from Superman’s world, but comparisons are inevitable. Superman is sorely missed from this series, referred to only as “the big man” or glimpsed briefly as a silhouette in the sun.

I do wonder, with the whole of the internet demanding studios for more female superhero adaptations, would it not be more beneficial for Warners to have picked someone like Zatanna or Power Girl to lead a new series? As an original adaptation not tied to any other male heroes, is that not making an even greater statement, that women don’t need to live in the shadow of men?

Still, this about as good as a Supergirl pilot gets, so if it fails, time to call out the aforementioned rabble-rousers for not supporting the type of quality product they incessantly demand more of.

Batman v Superman: Dawn of Justice

mayclylksn2pjygltivcAfter a brief look at Ezra Miller as the Flash (an interesting but highly questionable casting choice) and the Green Lantern Corps reboot, the Batman v Superman panel had a brand new trailer to showcase, released officially online afterward.

A lot of what I wrote in my editorial on the first trailer still stands – it’s all very overwrought, with the Batman/Superman conflict painted as more of a political struggle containing underlying themes of security/taking-the-fight-to-them-type stuff (what snooty critics would tiredly label “post-9/11 subtext”). Substance is always good, but the dark, Christopher Nolan-esque seriousness of the whole thing feels gloomy when it should be thrilling. I miss the fun, winking charm of previous Superman films, the ones where he’s solving things rather than creating more problems. I’ve said it before, I’ll say it again – Batman is about having problems, Superman is about finding solutions.

We’ll see come March. This is a very important movie for the future of DC Comics on film, and I worry we’ll never again reach the heights of The Dark Knight or Superman: the Movie. Still, kudos to Warner for their filmmaker-driven approach, which should nonetheless deliver more satisfying adaptations than Marvel Studios.

Suicide Squad

Leaked from the con and later officially released by a comic-con-international-2015-warner-bros-presentationgrumbling Warner Bros, footage from David Ayer’s Suicide Squad has been rocking the internet, and for good reason – it looks far better than Zack Snyder’s dour team-up. Uniting some of DC’s more obscure villains to tackle impossible missions is great movie material not just because of its excellent source, but because it looks to be something bold and visionary, something DIFFERENT in the face of the same old superhero shtick Marvel continues to peddle. Even Jared Leto’s Joker looks quite solid, not that there was any doubt in my mind.

Here’s hoping for a movie that lives up to what Jon Ostrander accomplished with the comics. Provided director Ayer is channeling Fury and not Sabotage, I think he’ll do just fine.

Deadpool

Deadpool-Is-The-Ultimate-Comic-Con-Movie

Before Bryan Singer provided an intriguing, if expected look at X-Men: Apocalypse, it was director Tim Miller, star Ryan Reynolds, and the cast of Deadpool that brought the thunder Saturday night. In a bit of leaked footage from the upcoming film, as Reynolds is being wheeled away on a stretcher on the promise of gaining superpowers, he cries out, “Please don’t make the suit green. Or animated!” I’ve since watched the leaked footage several times over.

Deadpool’s hilarious panel followed suit, providing some uproariously funny commentary about Miller’s occasional on-set crying, cracking jokes about bestiality, and more. The panel proved the sweet irreverence the Con desperately needed; everyone involved appeared genuinely proud of what they’ve accomplished with the film thus far. Vulture wrote it first and I agree wholeheartedly; if Deadpool is as funny and entertaining as it looks, it could prove the most vital superhero movie of 2016.

Honorable Mentions

I’m not a big fan, but Ash vs. Evil Dead looks like a fun return to an old fan-favorite franchise. The Hateful Eight should have an incredible soundtrack now that Ennio Morricone is onboard for the score, and I may just have to travel to catch it in 70 mm from how passionately Tarantino speaks of the format. The ever-funny Bill Murray proved a welcome addition to the Con family appearing for Open Road’s Rock the Kasbah, which if the trailer is any indication, looks to be a great showcase for the actor’s brand of dry, cool-as-fuck humor.bm

Jay Garrick will appear in the second season of The Flash played by Teddy Sears, a welcome addition to a series that I quite enjoyed overall this past fall. But can we all agree that Legends of Tomorrow looks like shit?

People continue to jizz themselves over The Force Awakens. I will say that all involved seem very genuine about making the best movie they can, but I’ve still seen nothing to convince me the film won’t be anything more than ordinary and unessential, not unlike this summer’s Jurassic World.

Victor Frankenstein’s panel featured stars James McAvoy and Daniel Radcliffe exchanging unintentional innuendo about their character’s sexual proclivities, proving an entertaining break from the norm. And M. Night Shyamalan stopped by to promote his return-to-form of sorts in The Visit. It’s a prime vehicle for the director’s comeback, but I can’t help but feel that prospect is more cosmetic than anything – the first trailer looks just as awkward a mix of creepy and unintentionally hilarious as The Happening. We’ll see come September.

Dishonorable Mention

Quick bone to pick with the rapidly-devolving Arrow, a show which has producer Greg Berlanti claiming that season four will finally feature the hero’s transition from Arrow to Green Arrow. But isn’t that what viewers were promised each summer preceding the last two seasons? Then there’s the eye-rolling decision to turn classic Justice Society character Mr. Terrific gay on the show. I think Stan Lee said it best, why fundamentally change who these characters are when you can just create new ones? Aside from that, I may delve into the specifics of what I hated so much about Season 3 of “Arrow,” but suffice to say, they’ll have one less viewer tuning in this fall.

Reflection

Suicide_Squad_SDCC_trailer_-_620_x_400

We are in the midst of an evolving infrastructure at San Diego Comic-Con. People waiting in line for Hall H for days are now being treated to J.J. Abrams and Zack Snyder bringing them water, t-shirts, a surprise Batmobile appearance, and private invites to a John Williams concert.

And to big money-hungry studios bitching about your trailers leaking – fuck off. People are inevitably going to try to leak your footage, so instead of whining to news outlets about how your footage “wasn’t ready” for public consumption, either be ready to screen it, or don’t screen it at all. Leakage proves thousands of online viewers are interested in your product, and they shouldn’t be excluded just because they didn’t spend thousands to travel to San Diego.

When I started writing these Comic-Con posts, it was difficult to even find footage of the panels themselves. We’ve come a long way since then now that all of this years’ are readily available, however it’s time to take the next step. How about a paid VIP service giving online viewers a live streaming experience of the panels? There’s a huge online audience out there waiting and studios are too busy bitching to realize it.

Regardless, it takes a great panel to remind me why I follow this event in the first place and Deadpool’s was the one to do it. The film was not only the shake-up the convention needed, but that the movie industry will need as well; here’s hoping it delivers as positive an impact as it did in San Diego.

IMAGES: MetroUK, moviepilot, CBSstatic, Wall Street National, altpress, pagesix, flavorwire, nytimes

Dragged to Earth: How the ‘Batman v Superman’ Trailer Loses the ‘Super’

batman-v-superman-02It’s a Bird! It’s a Plane! It’s a bleak social commentary!

I don’t usually write posts based on pre-release material anymore. More often than not, I’d rather give the movies a chance to speak for themselves, only tossing my two cents in when they can be properly judged in their final form. But my followers know well my adoration for Superman and DC Comics, so perhaps it was inevitable I’d be writing about the Batman v Superman trailer that rocked the internet this month after the new Force Awakens trailer already kind of did that.

Suffice to say, I’m a bit irked.

But before I begin, I highly recommend reading both SlashFilm and ScreenRant’s excellent analyses, which dive deeper into a trailer that seems to entirely lose the point of one-half of its principle protagonists.

I’m referring of course to the distinct anti-Superman attitude throughout the trailer, with actual commentators like Charlie Rose and Neil deGrasse Tyson debating his heroics, set over creepy images of zombie-like followers (pictured above), in one shot reaching out to him in an uncomfortably blinding light. Like its predecessor Man of Steel, Batman v Superman seems to be exploring the possibility that someone like Superman could exist in the real world, analyzing his every move, its implications for humanity, and commenting on society’s rather disturbing messiah complex.

This trailer hugely defies expectations of what a Superman movie is. I tried justifying this radical visage at first, thinking, “Well, lots of Superman comics have delved into his perceived negative effect on the populace, like the classic Elliot S. Maggin/Curt Swan ‘Must There Be a Superman?’, and this is like a darker version of that.” But in the end, I kept returning to the same conclusion. I’m tired of a dark DC Universe. I don’t want any darker a Superman.

Lights up, please.

Director Zack Snyder’s blinding visual flair is perhaps what lent viewers such strong reactions to the footage. It’s incredibly overwhelming, filling each and every frame batman-v-superman-05with vomit-inducing lighting and effects, and making an already dark, ugly color palette feel even darker and uglier. For a production supposedly seeking to answer critics of Man of Steel’s destruction-porn climax, Batman v Superman doesn’t seem to be letting up on the same overwrought approach that led to such miscalculations.

                                                                    Kneel before…Superman, apparently.

Indeed, the trailer goes far beyond the “dark, gritty, realistic” trend in comic book movies of late and extends to pure blackness, hopelessness, and dread. You could make the argument this trailer is presented from the viewpoint of humanity, and indeed its central representative Bruce Wayne, to set the stage for why Wayne might come into conflict with Superman. People are misinterpreting Superman’s mission of peace.

And my answer to all that is simple – it’s a fucking comic book movie.

I don’t go to see a comic book movie for a reflection of the real world, for an exposé on the flaws of society. An allegory maybe, but not a reflection. And I especially don’t go to see a Superman movie to glimpse the batman-v-superman-08ugliness of humanity. That’s not what the character is or has ever been about. I read, watch and consume Superman media to ESCAPE reality, to glimpse a fantasy world that society should be STRIVING towards. The character rarely brings out the worst in humanity; indeed, if anything, the mythology is centered around how Superman’s message of peace is very rarely misinterpreted by the populace, and how people of every creed, nation, and race can rally behind the idea that, hey, let’s all try to be like that guy and help each other out. Superman transcends those kinds of boundaries very quickly.

This idea that humanity could become uglier in his presence is about as far away from Jerry Siegel and Joe Shuster as we could possibly get.

I gave Man of Steel a pass on its darker moments under the pretense that that film was the first of a new series. The character needed a grittier, edgier portrayal to be taken seriously by audiences left rolling their eyes at the dated, mundane heroics of Bryan Singer’s Superman Returns. Even within the context of the film, Superman is just beginning his career and entering a whole world of problems. It stands to reason the world is dull and gray without him actively serving it, and that after he’s established as a superhero, sequels would gladly brighten things up.

Yet the trailer for Dawn of Justice shows no such brightness. This is a sordid reality better served by a violent, armor-clad vigilante than a bright and friendly idealistbatman-v-superman-18 swooping in to save the day. But Batman and Superman have always proved a very organic combination in the past, paired together to compare and contrast each other’s respective strengths and ideals. So then shouldn’t this trailer be setting up that contrast? Why the one-sidedness? For shock value? Or just because Snyder has a hard-on for Frank Miller’s ‘The Dark Knight Returns’?

For that matter, why is it that Superman media of the past five years seems to be all about stacking the character with the weight of the world in terms of problems? Why is it that even the solutions Superman finds, he just ends up causing more problems? Can’t he just WIN at some point? Isn’t that the satisfaction of the character, seeing him WIN against impossible odds?

Batman is about having PROBLEMS. Superman is about finding SOLUTIONS.

Teaming these two shouldn’t prove bleak or dark. It should pay off our investment in their adventures. It should balance their differing viewpoints. And above all, it should be FUN. batman-v-superman-09And that’s what Man of Steel, hell, even to an extent the Chistopher Nolan Batman trilogy, lacked – a sense of fun and wonder and joy and escapism that defines these movies.

Some might argue this is a natural maturation of the subgenre. If that’s the case, the subgenre is maturing right out of its core audience – kids. There is a timelessness to these characters; even as we grow old, they and their ideals never do. I’ll take Superman saving a cat from a tree over yet another existential crisis about the burden of wearing a mask any day of the week.

To its credit, Batman v Superman looks surprisingly sophisticated in its underlying power-struggle theme. I like Jeremy Irons’ Alfred monologue, drawing comparisons between the powerlessness Wayne felt witnessing the death of his parents to the powerlessness he might feel at the arrival of a figure like Superman. But there are ways to explore those kinds of ideas and still be FUN. Don’t believe me? Read the Andrew Kevin Walker/Akiva Goldsman Batman vs. Superman script from over a decade ago, which does a great job taking both heroes seriously while still balancing their strengths.

I will of course be reserving final judgment on Dawn of Justice for opening night. This is mere marketing, and clearly designed to elicit a range of responses. But Warner would be wise to re-evaluate their formula for superhero movies if they care to continue making them. I won’t keep paying to see Superman, much less the likes of Green Lantern and Shazam, being scribbled over with a sharpie on an already blackened canvas.

Because keeping Superman grounded just doesn’t fly.

Images: ComingSoon.net

Small Rifts, Max-imum Wonder: San Diego Comic-Con 2014 (Day Three)

comic-con_logoHey guys, sorry I’m late with this post. Balancing passion with paid work is never an easy task…very much appreciate the patience!

 

WB Pictures

Getting the surprises out of the way first, Zack Snyder entered to premiere a quick teaser for Batman v Superman: Dawn of Justice, and bring out the three primary cast members, Henry Cavill, Ben Affleck, and Gal Gadot as Supes, Bats, and Wonder Woman respectively. The footage has already leaked online, featuring a Batman wearing heavy Dark Knight Returns-style armor and Superman flying above, eyes flashing red with heat vision. The look of Wonder Woman was also revealed, pictured left.

The WW costume is about what most of us were picturing, I suppose. Not much left to say other than I’m just as excited as I was before this and very much looking forward to the team-up.

Jupiter Ascending was next, a film which I’m interested in, yet weary over after the Wachowskis’ pretentious, overindulgent Cloud Atlas. Following that film came Mad Max: Fury Road, finally debuting footage after a nearly two-year shooting block and an even longer development period. Director George Miller took the stage for his first Con, describing the film as an, “imaginary friend. Popped into [my] head and wouldn’t leave.” Miller went on to say the film would largely be one big chase sequence with minimal dialogue, and gave him, “a chance to return to simple allegory of first film.” Footage screened at the Con can be viewed below:

That’s a Mad Max movie alright, though I’ve never been particularly passionate about the franchise myself. The first film is my least favorite of the bunch; I find it dark and ugly, almost Grindhouse-esque. I much prefer the  down-to-earth, human, story-driven nature of Road Warrior and Beyond Thunderdome. Give me story over stunts any day.

Still, check out some fantastic storyboards for the film at BleedingCool, which I’m sure will be published as a comic book or something during the film’s release next year.

I unfortunately had to skimp on The Hobbit: The Battle of The Five Armies panel, moderated by Stephen Colbert. It’s a film I have no doubt will be as epic and emotional a conclusion as director Peter Jackson’s five other Middle-Earth ventures.

 

Legendary Pictures

Ended up missing this panel as well. Still, it was exciting to hear of Chris Hemsworth and director Michael Mann, making his first Con appearance, showcasing Black Hat, previously known as the Untitled Cyber Thriller, which they’ve been working on for a few years now. Guillermo Del Toro was also on call to promote Crimson Peak, the director’s latest R-rated horror venture which sounds for more promising than Pacific Rim. For Warcraft, director Duncan Jones appeared to promote the film, which is reportedly an origin story detailing the origins of battling the Orcs. Also announced was a King Kong spinoff of sorts titled Skull Island. Interesting stuff all around.

 

A Dame to Kill For

While I followed this panel, I don’t really have much to say on the film itself just yet. The film comes out in a month, I’m eagerly awaiting it, however (minor spoilers)…we STILL don’t know if Clive Owen will make a cameo in the third act of the title storyline as Dwight post-face operation. You’d think this would be the sort of thing they’d reveal at Comic-Con, despite the spoiler potential. I want to know, dammit!

 

Marvel Studios

Ant-Man-Comic-Con-2014-Exclusive-Poster

Ironically enough, looming large over Marvel’s festivities this year was the Edgar Wright Ant-Man debacle, yet fans didn’t seem to care much as Marvel played the crowd like a fiddle, showing footage from Phases 1 and 2 to kick off their panel. They certainly do like tooting their own horn, even undeservedly, yet perhaps sadder is the fact that people still eat up even the company’s weakest efforts.

Perhaps wanting to get it out of the way first (and unsurprisingly fielding no fan questions), the cast and new director of Ant-Man took the stage first, revealing as rumored that Evangeline Lily would be playing Hank Pym’s daughter Hope Van Dyne in the film. Attempting to better tie director Peyton Reed to the project, Feige eagerly showcased a hand-drawn promo from an amateur rock band Reed played in in the late 80s. The promo was a riff on the cover of Avengers #1 with band members standing in for the heroes; Reed stood in for Ant-Man, in what is I guess a pretty interesting coincidence. Still, it’s a pretty fleeting way of trying to brush past Edgar Wright’s huge commitment to the project in favor of Reed’s.

More promising was Rudd’s physique, clearly just looking at his neck shows he’s been hitting the gym hard for the role of Scott Lang. And Michael Douglas seemed earnestly enjoying his tenure there, speaking of Tales to Astonish and Hank Pym’s background. Marvel also screened some early test footage featuring of Lang running along a table and leaping onto a flying ant.

I shared my thoughts on the new direction of the production a month or so ago, but since then a lot of the anger seems to have cooled based on producer Kevin Feige’s comments that the production really did come down to creative differences. Feige also poked fun at the notion of the “big, bad studio,” and maintained the film in its current state was the, “best version of Ant-Man.” According to who? The studio? More importantly, who’s to say this isn’t complete PR bullshit, the studio’s “official” account of the story, put out there in order to dodge such questions at Comic-Con? If the split between Wright and Marvel was really as amicable as Feige paints it to be, then why did Wright tweet the ultra-somber photo of Buster Keaton, famously cheated by MGM, and title it “selfie?”

There is another side to this story – Wright’s. Feige has said nothing to deconfirm what the trades initially reported, that the studio had gone over Wright’s head and commissioned inferior rewrites of the script. Whether or not Wright “wasn’t used to the collaboration,” is irrelevant, more Feige vindicating of himself and the studio than a subjective recount of the dispute. Regardless, I’m still shaking my head at Marvel, Feige, and all involved who led to Wright divorcing himself from his own work.

There was a bit more fun to be had at the Age of Ultron panel, which included all major players sans Joss Whedon, who’d been undergoing knee surgery. Also introduced was Josh Brolin as Thanos, the sole surprise of the evening after screening some early footage of the film.

 

WB TV

Though I’ve already shared by thoughts on both Flash and Constantine here, the WB TV panel, moderated by Arrow’s Stephen Amell, shared some new details about the four new and current DC shows. For one, an extended trailer revealed that Ra’s Al Ghul will, predictably, be the primary third season villain on Arrow. Fine by me – while Arrow is a show highly derivative of Nolan’s Batman, frequently contains silly plot twists (Sarah’s bisexual?! MY GOD!!), and is generally entirely manufactured drama, at it’s core it’s a solid, entertaining hero’s journey.

I haven’t said a lot about Gotham because there really isn’t much to talk about there. It looks decent, I’m looking forward to seeing where they take the story, but there’s only so many places you can take a series like this without drawing it out and/or deviating heavily from the source material like Smallville did. I’m really just hoping for cameos from past Bat-family like Adam West or Chris O’Donnell.

Check back soon for my final wrap-up of the ceremonies!