Henry Cavill takes to social media to congratulate director Zack Snyder for the release of Justice League on HBO Max. “Here’s to you Zack. Congratulations! I know this has been an arduous journey for you, you kept fighting, though. I couldn’t be happier to see your vision for Justice League realized. And what a movie it […]
Following Ben Affleck Batman, now a Superman Henry Cavill teaser and poster is released for Zack Snyder’s Justice League movie. The flick gets released on March 18 on the HBO Max streaming service, with a virtual premiere held on Monday, March 15 for select members of the media, including yours truly. Zack Snyder’s Justice League
It’s claimed that Henry Cavill contacted Marvel following the Superman news in regards to the reboot from J.J. Abrams and Ta-Nehisi Coates. The rumor comes from scooper Daniel RPK, via Twitter, where it’s claimed, “Henry Cavill reportedly contacted Marvel after the Superman news.” Big things coming for Henry Cavill teased by Dany Garcia Interestingly enough,
Following the J.J. Abrams and Ta-Nehisi Coates Superman reboot news, the manager of Henry Cavill, Dany Garcia, seemingly teases big things for the former(?) Man of Steel actor. On Sunday, Garcia posted the following image on her Instagram Story, which says, “When you know all the things you know but can’t share because of NDAs…
It’s now said that Henry Cavill is out as Superman which follows the news of the J.J. Abrams reboot. The info comes from YouTuber Grace Randolph who posted on Twitter, “I’m hearing, as are others, that Henry Cavill is out.” Henry Cavill unfairly blamed for Superman loss Grace follows up the tweet with a video
Following the big news of the J.J. Abrams Superman reboot, Zack Snyder shares and teases a new Man of Steel image from the Justice League movie. Zack took to the Vero App to post, “The heroes journey of our Superman see more of this cool piece we created at IGN fan fest.” The image features
Just a guess on my part, but I am guessing the J.J. Abrams choice for the new Man of Steel will be a black Superman possibly played by Michael B. Jordan. The writing seems to be on the wall about a black Superman as the announcement comes during Black History Month and from a site
Confirming my scoop from almost two years ago, it’s finally reported J.J. Abrams is officially rebooting Superman. The reboot looks to be in the early stages as Deadline reports J.J. Abrams will be producing a new Superman movie and that Ta-Nehisi Coates is writing with Hannah Minghella also producing. Deadline offers no plot details are
In what I am guessing is no coincidence, following the news of the new Supergirl, Henry Cavill takes to social media to tease a secret project, which is speculated to be Mass Effect. Henry Cavill posted an update on Instagram on Wednesday which included what is thought to be a blurred-out script, where when de-blurred
Following the rumor that Henry Cavill is back as Superman for Shazam! 2, director David F. Sandberg responds and hints it may not be a done deal. Sandberg took to Twitter to address the rumor: Not going to comment on casting rumors for several reasons. One being you can’t be sure about anything until it’s
First rumored back in March of 2020 by the Lords of the Long Box, now it’s again claimed that Henry Cavill will appear as Superman in Shazam! 2 and that it’s a done deal. According to the latest rumor, the Man of Steel actor is a part of the casting information for Shazam! 2 and
Henry Cavill is teased back as Superman by his manager, Dany Garcia, who took to Instagram Story to offer the following teasers for the return of the Man of Steel. Garcia, who also happens to be the former wife of Dwayne Johnson and co-founder of their Seven Bucks production company and who serves as a producer on
Henry Cavill continues to rehab his injured leg which follows an accident that took place while filming The Witcher Season 2 for Netflix. The Geralt of Rivia actor took to social media to reveal his routine involved with rehabbing his hamstring injury. “Monday to Friday I’m up at 0430 to get a few hours rehab in
If there was ever a time the world needed Superman, it’s right now, and now we get Henry Cavill rumored for The Flash. According to ViewerAnon on Twitter who occasionally posts a scoop or two, Henry Cavill is wanted to cameo as Superman in The Flash movie. ViewerAnon says he is unsure of the current status of
Henry Cavill confirms that he injured his hamstring while filming The Witcher Season 2 for Netflix in the UK. “We are in lockdown here [in] the UK so I’m using my once a day outdoor exercise to go for my first jog since my hamstring injury! (More on that another time),” posted Henry on Instagram
A wild rumor is offering that Henry Cavill will play Wolverine in Captain Marvel 2 alongside Brie Larson as Carol Danvers. The Quartering YouTube reports on the rumor, and while it might sound pretty outlandish, last August also saw the rumor that Henry Cavill is Marvel bound. Interestingly enough, earlier in the month saw Marvel
Henry Cavill reveals he was recently in Phoenix, Arizona to attend the Pro And Rising Phoenix Women’s Bodybuilding World Championship which saw his manager, Dany Garcia, participate in the event. Henry Cavill posted an image of Dany Garcia on Instagram showing off her super-jacked bod. “Leaving Phoenix after having had a truly enlightening experience watching
The Man of Steel shows off his super muscles as Henry looks bigger than ever.
Henry Cavill is back on Instagram showing off his super muscles as the Superman-actor comes off looking pretty jacked! Cavill is currently filming the Netflix The Witcher series in Hungry where he posted the following to Instagram: It’s a solid snow day here in Hungary and I live at the top of a 2km hill,
Respect for What It Is A Film Review of Mission: Impossible – Fallout There’s something to be said of a film production that knows exactly what it is without trying to shoehorn half measures of nuanced complexity that only succeed in distracting from the good rather than building upon it. The professional collaboration among
Batman!(Co-starring Superman)
A Film Review of Batman v Superman: Dawn of Justice
By Lawrence Napoli
Not even one day released to the American viewing public and the only headlines regarding this film revolve around poor receptions and dreadful reviews. Ouch! Is this film really that bad? Are the fanboys being too critical? Are the trolls having too much fun? Is it being unfairly judged for not being absolutely spectacular? I’d be lying to you if I didn’t admit just a hint of glee over this project’s initial, global reaction for a number of reasons: poor casting choices, using The Dark Knight Returns plot for introducing a Justice League cinematic universe and Batman upstaging Superman’s sequel (to list a few). The details of this production had me shaking my head in absurdity light years beyond the casting of Mr. Mom as Tim Burton’s Batman back in 1989 so much so that its present day difficulties seem a foregone conclusion.
Rather than rubbing salt into open wounds, this review will be more concerned with simply critiquing what we have on the screen, and it begins with this film being Batman’s movie from the very first second to its very last. In a way, it makes sense for the story to be so Bat-centric because “this” version of the Dark Knight has not yet been established in this particular cinematic universe. It is more than just the plot featuring Batman or its themes, framework or even the outcome that makes it so. The feel, sound and look of this entire film are “Batman” through and through. There’s absolutely nothing wrong with this tactic outside of the cost of sacrificing every other character and their subplots as window dressing to Batman’s mission. As such, Superman is all but designated as a formal antagonist if the story weren’t also interested in introducing the audience to the Justice League as well as a major tease for a destined conflict against one of DC’s Ultimate Evils in subsequent films. The fact is that this story is so much more than just Batman and Superman that it crumbles under the weight of its own lofty ambitions. This leads to a bit of distraction and incoherence which requires the viewer to make frequent leaps of faith to traverse the plot holes.
Then there’s the pacing of this movie which does a fine job at mimicking the overall flow and tenor of Man of Steel. We start off pretty slow as Zack Snyder clearly makes conscious efforts at establishing intrigue. But then, the film stays at that same tempo because we need a ton of exposition fed to us in order to appreciate what is going on thanks to advancing the plot more than a year past the destruction of Metropolis at the hands of Zod. With little screen time left to build upon any drama or suspense, the burden falls squarely on action sequences to break things up and sometimes they get the job done. It’s neat seeing Batman drive his car, fly his plane and beat up (and kill) bad guys. [Yes, this Batman kills – more on that later] Unfortunately, Batman isn’t Superman; meaning those awesome Dragonball Z live-action combat sequences from Man of Steel are nowhere to be found in this film, not even during the climactic battle against a conveniently placed plot device.
I understand that Zack Snyder is essentially doing the same thing as the competition, but trying so desperately to differentiate by doubling down on the gravitas. These films may not be taking place in a Chris Nolan reality, but there is no denying the tone of seriousness here. I for one am all for making these blockbusters as poignant as any art house, indie obscurity. However, the fun factor should not be hunted down and eradicated like some Thanagarian Snare Beast. No one needs to tell this production staff about the importance of finding the right balance between gravity and levity so you can all be assured that the next DC film, Suicide Squad, will be layered with silliness as a counterweight, but hopefully not too much.
|
Action Style |
When the action happens, it is captured quite well featuring some extremely diverse Batman combat both inside and out of vehicles. Meta-beings are relegated to flying at stuff, punching stuff and eye beams. |
5/6 |
|
Action Frame |
Fairly static camera setups for dialogue scenes and much more animated during combat. Better than average. |
3/5 |
|
Lead Performance |
Batfleck wasn’t terrible, but he might have been if he had to “act” his own, gruff “Bat-voice” instead of relying on sound filters. Henry Cavil is just plain solid, and I am pained that he’s totally overshadowed in this film. Both men put in the serious wrench time at the gym for these parts. Speaking of overshadowed: Amy Adams is superb, but did anyone really care? |
4/6 |
|
Supporting Performance |
Gal Gadot has the right presence for WW, but is basically as skinny as she has been for Fast and Furious films. Michael Shannon surpasses himself playing a cadaver of the character he played in Man of Steel. But Jesse Eisenberg produces a whimpering, erratic shell of some character meant to be Lex Luthor – not unlike many of the characters he’s made a Hollywood career by playing. Also, Jeremy Irons’ Alfred was WAY too sarcastic for me. |
1/5 |
|
Music |
The quality echoed by the iconic theme music of The Dark Knight Trilogy normally gives Hans Zimmer an A+ when it comes to music, but then I heard his theme for Wonder Woman. Ugh! Also, not enough Superman’s theme is featured in this film. |
2/6 |
|
Sound F/X |
Fake Batman voices are to be preferred to whatever Batfleck would have come up with. Thank you audio effects. Thank you. |
3/5 |
“Moving” = 18/33
|
Digital F/X |
The CGI within this film is text book for pristine excellence for a Hollywood production of this budget. A full point is deducted for the not so inspired monster design of Doomsday being a gray, Ninja Turtle, knockoff. |
5/6 |
|
Special F/X |
Explosions are solid as is gunfire and bleeding effects. Practical effects shine during the Bruce Wayne charging into Metropolis sequence. |
3/5 |
|
Costumes |
I wasn’t in love with Superman’s suit in the first film, but it has grown on me. Batman’s suit is great from the neck down. Lex Luthor’s apparel is fitting for a genius tweaker who couldn’t be bothered by the concept of “respectable attire.” |
4/6 |
|
Hair & Makeup |
Neither exceptional nor horribly out of place. |
3/5 |
|
Exteriors |
Kent farm exteriors were perfect. Cityscapes (only slightly) less so. |
4/6 |
|
Interiors |
I must say that I was impressed by this iteration of the Bat Cave. |
4/5 |
“Picture” = 23/33
|
Hook |
Batman sees first-hand what the damage of meta-humans can do to a city of mere Earthlings and feels mankind may need to go to war with Superman to survive. |
3/4 |
|
Conflict |
So the world’s greatest detective would not have thoroughly explored all avenues, investigated all the players and exhausted every last resource before forcing a physical confrontation with a god? If he did, he would not have been played so easily by the bad guys. |
1/4 |
|
Resolution |
Batman and Superman just formally met, so to witness this contrived mutual respect they suddenly upgrade to is ridiculous. |
1/4 |
|
Dialogue |
I sometimes hear Daredevil narration when Batman speaks. Superman easily has the best lines if for any other reason he isn’t flapping his lips all the time. Every line of dialogue for Luthor equates to ear rot. |
3/6 |
|
Exposition |
The audience gets just enough to comprehend what’s happening in this film only and absolute zero for everything that happened off screen in the time immediately after Man of Steel. Also, these scenes aren’t blended particularly well with the action to help with the pacing. |
2/5 |
|
Character Uniqueness |
Superman kills. Batman kills. And Lex Luthor is a tool. These are all certainly unique takes on these particular characters historically, but also demonstrates a fundamental disconnect with the cores of who they are. If Superman kills, his principles are no longer his greatest strength. If Batman kills, his ironclad will and excellence of execution and preparation is rusted. If Luthor has no backbone, no level of intelligence or resources will ever make him a viable threat because above all else, he is defined by his own hubris. |
1/6 |
|
Character Relatability |
Amazingly enough, I relate to Superman the best in this film because despite his amazing abilities he isn’t trying to lord anything over anyone and is really just trying to do the right thing the best way he can. I’d understand Batman’s perspective if it were based on something more than vengeance. I have no motivation to relate to Luthor as I mentally switch him off whenever he’s onscreen. |
2/5 |
“Story” = 13/34
Overall MPS Rating: 54/100
Batman v Superman: Dawn of Justice is an average blockbuster. It wasn’t atrocious, nor was it anything spectacular, but apparently that’s enough for its crucifixion. An unfocused story combined with questionable casting and inconsistent performances demonstrate major weaknesses for perhaps one of the most hyped and anticipated film fictions of all time. The expectations were clearly impossible to satisfy, but one film attempting to do so much in a mere 2.5 hours was all but inviting disaster. A simpler story focusing on an introduction between Batman and Superman and how their credos differ in almost every way would have been more than enough to fill out a full time slot. Then again, what made this plot work in The Dark Knight Returns is the fact that these two characters had a long history of conflict and disagreement that built up to a direct physical confrontation which clearly doesn’t fit in Batman v Superman. Simply put, this was not the fiction to rip-off to launch this new generation of heroes, and that is Zack Snyder’s fault. Taking a risk by inventing a brand new framework for licensed characters is not something indicative of a Snyder production. His history is adaptation through emulation and that brief stint with originality gifted us all with Sucker Punch. Need I say more?
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Divergent Adaptation
Who Leads DC’s and Marvel’s Cinematic Realities?
By Lawrence Napoli
Ah! What a great time to be a fan of comics and movies. The cinematic creation of characters once thought far too larger than life to portray on the silver screen due to the limitations of technology has become one of (if not the best of) the marquee staples of Americana Pop Culture in recent years. Comic book film adaptations have not only set this country on fire, but they have been fascinating the global audience as well, and it shows at the box office. Those who know DC and Marvel as comic book companies primarily know them for their characters, fewer know them by the individuals that created their respective icons and fewer still know them for the writers and artists that make their characters relevant today. Regardless of where the comic book industry has been financially from the distant past and/or recent past, there is no question that the movement of Hollywood adaptations of super-heroes continues to be a boom for everyone that owns the rights. So if these films are so popular and continue to boost the visibility of various franchises, which individual is ultimately responsible?
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We know Christopher Nolan masterminded The Dark Knight Trilogy, we know Joss Whedon is behind Avenger films as well as Marvel’s Agents of S.H.I.E.L.D., we know that Robert Downey Jr. is Iron Man, and we know that Bat-Fleck is happening for Batman vs. Superman or World’s Finest or [insert title here] and we know that both companies are aiming at an expanded universe where their respective characters coexist in an ever-evolving reality. But who’s really in command? Who’s bringing it all together? Sure, all the businesses involved with super-hero adaptations each have their nameless-faceless board of directors that are held responsible for decisions by their stock holders, but the choice to go in one direction or the other, veto power, day to day operations, coordination, communication and unification of this cellular network of films is being made by real individuals. These individuals bridge the gap between the corporate conglomerate and the artists of production. Without their knowledge of the material, business savvy, political skills and organizational aptitude, none of these films get made – or rather, none of these films get made well. These people are the most responsible for pleasing (or inciting) fanboys and girls around the world, and they are also the first to be fired or rewarded when the receipts are all tallied up.
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Marvel’s man is Kevin Feige. He got his start as an associate producer for the first X-Men film due to his extensive knowledge of the Marvel Universe and has gone on to produce virtually every Marvel character adaptation since 2000: Sam Raimi’s Spider-Man trilogy, Daredevil, the X-Men trilogy, The Punisher, Blade: Trinity, Elektra, both Fantastic Four films as well as all of Marvel’s recent Avenger “Phase X” films. We could debate the merits and failings of each and every one of these films, but they all (basically) made money and were obviously successful enough for those doing the hiring to continue to involve Feige at the highest level of decision-making for film production. Simply glancing at his résumé suggests that Feige was thinking about birthing a unified cinematic reality for Marvel’s characters long ago, and he would be one of the few individuals to have enough production experience to think about its creation in practical terms. When Iron Man was released in 2008, this theory took its first steps into reality. Despite the fact that the screenplay was written by the collective of Mark Fergus, Hawk Ostby, Art Marcum and Matt Holloway, it was this film’s post credit scene that paved the way for The Avengers. This must be attributed to Kevin Feige because none of Iron Man’s writers have gone on to be involved with any level of production for any subsequent Marvel film.
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Of course, the eventual wunderkind that would be Marvel’s Avengers was only a glimmer in the eye of anyone who knew Nick Fury and what “The Avengers Initiative” could possibly represent. But it was also beyond a foregone conclusion for Feige himself because there was no public knowledge of contractual obligation for franchise expansion in any direction outside of Robert Downey Jr. which meant nothing more than more Iron Man films. Who knows what was really agreed to behind closed doors (and at what point in time?), but the future teasing in the post credits of The Incredible Hulk (2008), Thor (2009), Iron Man 2 (2009) and Captain America: The First Avenger (2011) continued to prove in each film that audiences liked the interconnectivity of these (seemingly) unrelated plots and characters. In many ways, the teases overshadowed the fact that all of these films from different directors and writing teams were successful by themselves, but had they not been, fewer would care about any sort of unification. One of Kevin Feige’s best attributes as a leader in this industry is the respect and courtesy he shows for the writers, directors, cast and crew he works with and has done so with the “Phase 1” films. More often than not, studio execs will throw their weight around to the point that it denigrates the production, but Feige is constantly credited (most notably by Joss Whedon) for providing leadership and direction without slapping on the creative shackles.
Introducing a massive franchise like The Avengers has proven to be successful in being introduced a bit at a time to audiences in a crescendo that built towards a pretty standard-issue “alien invasion of Earth” scenario, but let’s be frank. The whole movie could have been the Avengers going out for shwarma and people would still have fan-gasmed because there they are: all together. Big name actors playing big name characters and all in the same movie is a huge deal and completely beyond the minds of studio executives of yesteryear. Feige organized this effort between multiple films as intuitively as possible and as practically as possible. Simply acknowledging their existence in the same space as in “by the way, this too is happening over here,” is much less maintenance than designing a complex plot from the very first film as the “unifying force.” This too might have worked, but would unnecessarily marry one film to the other and the problems experienced in one might be inherited by a future production.
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Yes, that’s right; I’m talking about the Ed Norton recast for the Dr. Banner/Hulk character. This situation is one likely reason for the audience not having seen a second Hulk film prior to The Avengers, and recasting a major role could have been a significant monkey wrench to the gears of this unified franchise. Who knows if that problem was ultimately money, politics or ego; the man was replaced by Mark Ruffalo, and he did a great job. Had Ruffalo whiffed, we’d all be hearing no end of it from every critic working in every media outlet in the Western world. I like Ruffalo as an actor, but I didn’t really have an opinion of him replacing Norton other than I’d rather have established continuity maintained, but The Avengers film put the actor into many successful opportunities for the audience to like his Banner to the point that this recast has been practically forgotten. This is thanks to Joss Whedon, who in turn thanks Feige, who was knee-deep in the Norton situation, and their combined efforts made the necessary adjustments in the subsequent film to reconcile everything. That’s some uncharacteristically efficient leadership in Hollywood which is known for dragging its feet through the political muck of “creative differences.” Kevin Feige may be the unifying force for the Avengers Initiative, but he shows his leadership almost every day with interviews and public appearances and whenever people have questions, he has answers. I’m not sure his position as President of Marvel Studios requires him to do this, but his visibility and confidence suggests a master plan at work.
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So what about DC? They have every bit the intriguing roster of characters as Marvel and (so far) have demonstrated an equally high dedication to enlist big Hollywood names and attach them to franchise pillars for multiple films. This seems to be carbon-copied right out of Marvel’s playbook, but casting news for the Man of Steel sequel and its elusive title is evidence that the strategy for introducing its characters in a unified reality to audiences will be taking a completely different approach than Marvel Studios. It remains to be seen if audiences will buy into this strategy or not because the first film hasn’t been made, but who’s there to answer that question? Who’s there to lay our insecurities to rest? This person was a tad more difficult to track down due to the fact that this DC movement is only in its infant stages and the only news out there to comment on is a growing cast for a film years from completion. At first I looked at the closest corporate counterpart to Kevin Feige. Diane Nelson is President of DC Entertainment and President & Chief Content Officer of Warner Bros. Interactive Entertainment. According to DC’s website, “Nelson is charged with leading the efforts to fully realize the power and value of DC Entertainment’s rich portfolio of stories and characters, including such cultural icons as Batman, Superman and Wonder Woman, across all media and platforms.”
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First, I’d like to point out the order in which “DC’s icons” are placed as per Nelson’s title description (yep, Batman is #1). Second, her title and description sounds like someone ideal in bridging the gap between the comic book people and the movie making people, right? As it turns out, someone established more firmly on the Warner Bros. side of the equation will be overseeing DC’s adaptation expansion. He is Greg Silverman the President of Creative Development and Worldwide Production for Warner Bros. and according to the WB’s website, “In this role, he has full oversight of Warner Bros. Pictures’ development activities, global production and budget.” He began in Hollywood as a lowly craft services worker for indy films but eventually became an assistant at Tri-Star and Mandeville Films and eventually a production executive at Mad Chance. He got his start at Warner Bros. in 1997 being a junior production executive for The Matrix, A Perfect Murder and Cats & Dogs. WB credits him for “shepherding” the success of 300 (2006), The Dark Knight (2008), The Hangover (2009), and Inception (2010).
Silverman’s visibility is still on the low end with only his interview with Variety being his major public comments regarding “Batman vs. Superman?” and/or the franchise moving forward in which he addresses several concerns.
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Regarding Ben Affleck:
“We knew going in that we had more information than the general public had. We knew what the take of the movie was; we knew what the character was going to be. We don’t take these decisions lightly. We thought about everybody – brand new people, established people. Ben is the perfect guy to play this role.”
Regarding Batman and Superman’s interaction:
“They both will be wearing suits, there are capes involved, there will be action, there will be excitement.”
Regarding Wonder Woman:
“Wonder Woman is an amazing character. I think it’s a great opportunity both for box office success, but also to have an amazingly powerful female superhero.”
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Again, I note that this is merely the beginning for DC adapted unification and based on that, Silverman seems to be saying all the right things so far. Nothing’s too committal, nothing’s specific and everything is going to turn out all right. It’s your standard politician or rather, executive response. If however, one is looking for a more personalized commentary regarding this next production, Zack Snyder is your man and has been at every stage of this production because every cast member revealed thus far has been a hot button topic. Personally, I don’t care for some of the decisions that have been made so far, but I do respect Snyder stepping up to the plate when it really isn’t, technically, his job to do so. When I first started hearing Snyder defend Affleck, I wondered if Snyder was the guy who really had all the answers or if he was just simply the only guy that had any authority in this new DC filmic reality to date. If Silverman has been in place prior to Man of Steel and Snyder’s involvement moving forward will only be related to Superman related films then the latter is true and Snyder was the only one at the time to face the firing squad of public scrutiny. If, however, Zack Snyder’s role expands to even that of a producer for any additional DC ancillary films, the significance of Greg Silverman as an individual directing this movement is greatly diminished and the true maestro will be revealed.
As a fan of movies and comics, I could care less about who’s making what call in regards to which movie, but I do care about seeing good movies, and I care even more when I see bad ones (especially when the potential was there for greatness). If things go well, the right individuals ought to be praised. If not … well you know what happens then. So far, DC’s and WB’s leadership is feeling itself out and being only so forthcoming with the details this early, and that’s as it should be. However, it still feels like this whole thing rests on Zack Snyder’s shoulders and many out there have him and Goyer fitted for pine boxes (figuratively, of course) should all of these interesting production and casting choices result in what is assumed to be a sub-standard envisioning of the Dark Knight and the Blue Boy Scout getting their hero on in the same movie. Studio exec’s (unlike Kevin Feige) that stay out of the limelight tend to reap rewards with zero risk because their association with given productions is obscured. I think Greg Silverman would be doing his own projects and people a big favor by getting out there a little more and putting on the best face he can to charm the pants off some reporters. Then, if in two years time, whether Batman vs. Superman booms or busts, no one will accuse him personally of not making a better effort to sell the film. But again, maybe this is what separates the Kevin Feiges from the Greg Silvermans? It’s not for me to tell him how to run his business, but I don’t want him to fail, I don’t want this franchise to fail, and I certainly don’t want this film to fail. The Justice League can be every bit as amazing as The Avengers.
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That being said, here is where I personally stand in regards to this Batman vs. Superman film as of 2/8/2014. This is my unlucky 7:
1) I don’t like most of the cast decisions regarding the newcomers to this franchise. Everyone returning from Man of Steel is fine and Jeremy Irons couldn’t mess up Alfred even if he showed up completely drunk and high for every day of principal photography (that would sure be a different take on Mr. Pennyworth).
2) I think Henry Cavil is being done a great disservice by having to play second fiddle to a bigger actor and a better character in Bat-Fleck for the sequel that used to be his franchise.
3) I think another chapter in Superman’s tale (solo) would have done more to establish the perils of this new DC cinematic universe than teasing the rest of the Justice League sooner than later.
4) I think Warner Bros. studio executives are forcing this massive cameo extravaganza prematurely because they see the X-Men franchise doing it for 20th Century Fox and the Spider-Man franchise doing it for Sony Pictures – and they want that money ASAP!
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5) If someone were to describe Jesse Eisenberg’s character based on the fact he’s playing it and how he’ll be a tattooed skinhead that will “earn” his wealth and intelligence on the mean streets of Metropolis, there’s no way I would have guessed him to play Lex Luthor. Every previous manifestation of that character is much higher status than that of a street thug – and then there’s the whole Jesse Eisenberg is playing a street thug, thing (editor’s note: rumored).
6) With each new development, I lose more and more interest with this franchise because decisions are seemingly being made just for the sake of being different: different from Marvel, different from its comic book roots, different from Tim Burton, Chris Nolan and Richard Donner.
7) I would reiterate Kevin Feige’s advice to the DC/WB powers that be in regards to their adaptation movement and that is: “have confidence in the characters, believe in the source material, don’t be afraid to stay true to all of the elements of the characters no matter how seemingly silly or crazy they are.”
This is the END, DC!
Attempting to comprehend “Why?!?”
By: Lawrence Napoli
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It’s Thursday night, August 22, 2013, and I just found out that Ben Affleck will be the next Batman in the sequel to Man of Steel as well as what I presume will be DC’s efforts moving forward to culminate in Justice League. Let that sentence percolate for a moment. Ben F*CKING Affleck!?!? Here’s a pro tip: count to ten, take a breath, in the nose, out the mouth. Needless to say, but I am extremely disappointed in this decision. Nothing (and I mean NOTHING) in this actor’s repertoire indicates that he would, could or should be Batman in a serious adaptation of that character’s license on the silver screen. I’ll delve into my opinion about this debacle later, but first I need to make some predictions about what this means for DC shamelessly attempting to recapture The Avengers in a bottle.
1) Established media entities will universally praise this move.
Affleck, love him or hate him, happens to be an A-list, popular name whose attachment to any film production can send budgets through the roof and potential ticket sales of seemingly obscure films in the same direction. He’s a regular on GQ, he’s a tabloid darling, and thanks to Argo he not only has “street cred,” but finally something significant to distinguish himself from Matt Damon’s more esteemed body of work. DC, Dune Entertainment, Syncopy and Warner Bros. are making this decision entirely about money, but the false assumption is that Affleck has this effect for this kind of serious comic book adaptation. In the one, previous stint Affleck had with starring as a superhero: Daredevil, that production had a budget of $78 million dollars in 2003 and its GLOBAL take at the box office was just under $180 million. This is NOT an example of “showing me the money!”
2) Bat Fans, Bloggers, Fan Websites and anything else remotely grassroots will universally pan (or at least raise a serious eyebrow at) this move.
The die-hard fan (a.k.a. fanboy) is instrumental in turning these comic book movies into legit challengers to Avatar’s all time money record. They’re the ones that pump movies they like incessantly (and for free) on the internet, attend multiple screenings and contribute to a fever pitched word of mouth campaign to do the kind of things The Avengers did. Core fans don’t care very much for Affleck because everything about his persona reeks of Shannon who worked at The Fashionable Male in Mallrats. He’s comes off as arrogant, narcissistic, over privileged and completely devoid of an ounce of genuine humility. You know, he’s the kind of guy that beat up the comic book geeks and nerds in high school. Yeah, this decision should go over really well with them.
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3) Superman vs. Batman and Justice League by extension will be out-earned, outperformed and out-classed by the Marvel Films.
DC is already at a distinct disadvantage with making Superman the center piece of their movement because that character’s godlike immunity makes him difficult to connect with contemporary audiences. Green Lantern was so awful that DC would rather have everyone completely forget that it ever happened. Nobody gives a damn about Aquaman. No woman (save for Lucy Lawless in her prime) could do Wonder Woman justice. And no one (outside of “the core”) knows about Flash, Martian Manhunter or Cyborg. DC’s most valuable character is the one they’ve already made seven movies with, and Christian Bale’s performance is recognized by many to be the “best Bat” to date. Oh, and Bale happens to be an Academy Award winning actor.
4) Zack Snyder is going to be constantly hitting every media outlet to pump up Affleck as Batman and tell nay-sayers to shut up.
“(Affleck) has the acting chops to create a layered portrayal of a man who is older and wiser than Clark Kent and bears the scars of a seasoned crime fighter, but retain the charm that the world sees in billionaire Bruce Wayne. I can’t wait to work with him.”
– Zack Snyder.
Expect to see unending remixes of this last statement for the next two years. By the way, if you were looking for a translation for that quote, it goes something like this: “Forget your apprehensions concerning this casting call; Ben Affleck is the perfect Batman because the studio told me so, and I couldn’t identify a real actor even if Hugh Jackman punched me in the face.” Okay, so that’s a bit of an exaggeration, but seriously, what was Snyder thinking with that? “Scars of a seasoned crime fighter,” implies the aforementioned humility factor that a career spent personifying arrogant bastards is pretty much incapable of depicting.
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5) Everyone will suddenly pine for Superman snapping Batman’s neck in the movie.
This has a lot to do with prediction #2. Frank Miller’s, The Dark Knight Returns has that infamous showdown between Batman and Superman that has had every comic book aficionado salivating over Batman’s ability to overcome any odds and defeat any adversary put before him. People like Batman because he’s dark, deductive, mortal and flawed, and Superman was depicted as a brain-washed boy scout in that comic. Affleck is not an underdog though; he’s a front-runner and people want to see him get taken down a peg or two. Ergo, Henry Cavill needs to melt his face off with heat vision. Perhaps this is all an elaborate scheme by DC to make Superman their #1 guy in the eyes of the fans: by neutering Batman with Affleck.
I’m sure other things will happen like fans picketing theatres, or petitions to bring back Christian Bale. Heck, I wouldn’t be surprised if people hit up Kickstarter to put real money behind the serious opposition to this decision, but the fact of the matter is that this casting decision is the furthest from a slam dunk and it astounds me that no one calling the shots for DC’s film adaptations gave this a serious thought. Not once did I ever consider Affleck to be a legitimate contender for this role because he’s simply way too high-profile for it. What motivates an actor who’s already made millions and could give two shits if people don’t like his performance? I simply do not know, but actors who have neither of those are more likely to deliver a better performance and that’s what it should really be about.
The one thing I’d really like to know is what Affleck’s boy, Kevin Smith has to say about this. I’m sure he’s polishing his knee pads for the man now that the decision’s been made, and it’s out there for everyone to discuss, but I’d want to know what he’d say behind closed doors before any rumors concerning his casting were ever conceived.
I know I should be a more mature, reasonable and responsible journalist in regards to expressing my opinion on this matter, but I simply never cared for Ben Affleck, any of his films, his association with J-Lo, and his (generally speaking) smarmy attitude. I care even less for him now that he’s been tapped to be my favorite vigilante. I realize I should reserve all judgment until the film comes out, but that would be difficult seeing how I am giving serious thought to boycotting DC’s films from this point on.
Make mine Marvel!
Related: Op-Ed: A Response To Ben Affleck Batman Nerd Rage & Why Heath Ledger Argument Doesn’t Work
By: Lawrence Napoli
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Comic book adaptations continue to take the world by storm, and Hollywood’s desperate need to use “superheroes” as a crutch won’t see that trend ending anytime soon. So we know (think) the Justice League adaptation is coming in an effort to mirror Marvel’s success with The Avengers, but no one seems to know how DC’s team of super folk ought to be adapted to the screen. Does everyone get their own film to establish origins as well as a following? Do we present the team first? Oh, and what do we do about Batman? Yes ladies and gentlemen, that last question is the one that’s truly plaguing the executive brass over at Warner Bros., and DC because Christopher Nolan’s Dark Knight Trilogy remains too familiar within the social consciousness of the present and a depiction of that character (DC’s most valuable license) that isn’t as proficient will directly translate to millions (if not billions) in lost profit all over the world.
I’ve never liked the concept of “rebooting” and I never will, but that’s not to say some efforts have been made in good faith to really deliver some marquee entertainment that attempts to show an audience something we haven’t quite seen before. Nolan’s trilogy is a perfect example of this, but if Justice League is to happen then Batman not only needs a new face to fill out the cowl, but he needs someone who will be as dedicated to the role as Henry Cavill is apparently for Superman, as Robert Downey Jr. is for Iron Man, and as Christian Bale was for Batman before. If Justice League was truly a project attempting to carbon copy The Avengers, this production should have considered recasting Bale as Batman to maintain some viewer familiarity with that role as Downey Jr. has for Tony Stark. Not everyone saw the Captain America, Incredible Hulk and Thor films, but most saw the Iron Man trilogy thanks mostly to the performance of the title role. Bale’s presence could pay similar dividends for JL, but Bale has solidified his Hollywood legacy, he’s won his Oscar and made tons of money; he’s going to take a break now.
So, what is the corporate conglomerate to do? Audiences liked Cavill enough through strong showings for Man of Steel at the box office so Superman is set. Everyone hated Green Lantern (and rightly so), but can JL afford recasting another emerald warrior in the form of a brand new Hal Jordon or swapping him out for Alan Scott, John Stewart, Kyle Rayner or (ugh!) Guy Gardner? That character is a toss-up. How about a CG Martian Manhunter? Possibly. Is Wonder Woman simply inconceivable to cast due to the need to make her as physically dominant, yet sexy, attractive and somewhat cute at the same time? Perhaps. Flash, Cyborg, Aquaman: does anyone even care about these guys? Maybe not. The point is that The League isn’t particularly stable, so the two pillars of this fictional franchise have got to work well (butting heads) onscreen. Whoever is given the power to choose the next Batman better not miss.
That being said, we will discuss some possibilities for actors who could potentially do the role (ahem) justice, but before we do, let’s glance at some of Batman’s past renditions to see if we can extract the elements of a performance that are vital to bringing this character back to life for Justice League and beyond.
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What worked: He helped bring Batman to the mainstream in the late 60s with a very family friendly performance that employed a decent amount of action for television shows produced at that time. The show kept fresh by employing a number of his iconic rogue’s gallery for several episodes. Heck, they even all teamed up against him; Legion of Doom style and Mayor Adam West confronted them with as much dignity as he could muster.
What didn’t: It’s obvious isn’t it? It was campy and it was foolish, and West had no choice but to play it that way. Seriously? Shark repellent Bat spray??? West is only partially to blame as the man was simply following direction and reading off the script, but his smarmy chuckles, warm smile and Little House on the Prairie interpretation of fathering Robin is far off the beaten trail for this character.
What to keep: Despite the dated nature of this material, West showed that you can generate interest and an audience through shear charisma and the man certainly had that in spades for his Batman. A suave demeanor and face is the shortest route to an audience’s heart, so the next Batman must have this kind of likability because his clashing with Superman over JL decisions (as well as his personal brand of “justice”) might lead an audience to view him as a villain.
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What worked: I count both men as the same because the only real positive impact they had on this character is the fact that A-list recognition will bring the masses to the box office; completely independent of the story, production value and quality of the performances. It is the primary reason why “stars” fuel Hollywood’s engine in the first place.
What didn’t: There’s almost too much to mention here, but let’s try anyway! Joel Schumacher, anatomically correct rubber suits, dumb stories and stylized settings are only a few reasons why Batman Forever and Batman and Robin ought to remain in the Dark Knight’s closet. However, the number one, unforgivable offense for both of these actors is that neither truly bought in to this character to give it the seriousness it deserved. They treated these movies as only paycheck films and it showed onscreen.
What to keep: Before Robert Downey Jr.’s career took a hiatus thanks to substance abuse and rehab, he was already established, A-list talent that every media entity dubbed as one of the “next big things in Hollywood.” Of course, blow can derail anyone’s career, but he came back with a vengeance thanks to the Iron Man franchise, and he did it by fully investing in his character and it produced a performance that will forever be linked to this man’s legacy. Sure, Christopher Reeve did this as an unknown for Richard Donner’s Superman, but odds are that A-list talent has a higher batting average to hit one out of the park in any role for audiences.
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What worked: Tim Burton’s Batman in 1989 kick-started the contemporary love affair with and modern adaptations of comic book characters and stories. It had a big production budget, bigger stars and encapsulated it all within a very dark, brooding and serious plot that brought the character closer to its roots than ever before. Many were confounded with the casting of Keaton who was more established as a comic (ha-ha) actor at the time, but Burton witnessed this man’s ability when they worked together on Beetlejuice the year before. Keaton yielded a performance that no one could have possibly predicted thanks to his Bruce Wayne persona that matched the trends of his past roles and a distinct Batman persona that was decidedly solemn, gruff and cold. He also rarely flapped his lips in regards to anything while donning the cape.
What didn’t: Hollywood is good at faking a lot of things. It even made Michael Keaton look like he was some kind of martial arts master; well, kind of. Keaton never has and never will be described as an action star, but the next Batman will always have the need to be depicted as very physical on the screen through stunt work and combat sequences. It’s not necessarily that Keaton’s action didn’t work in ’89, but that it won’t work for Justice League moving forward.
What to keep: Michael Keaton represents the antithesis of the two men who followed in this role. When it comes to the nature of a performance, there’s clearly no equation to separate “successful” from “unsuccessful,” but this is why casting is a tricky art form in and of itself. One makes a decision to fill out a role based on an actor’s history of work and the energy he or she brings to an audition. Open-mindedness is the key lesson in appreciating Michael Keaton as Batman which applies to the casting of either established talent or a new face entirely. I also would like to see the resume of whoever will be charged as the casting director for Justice League because if movies like the Star Wars prequels, Ghost Rider and Daredevil are credited to this person, we should all brace ourselves for JL.
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What worked: He’s easily the most skilled actor to ever play this role and outside of his natural talent, has an entire history of completely selling out for just about every role he plays as evidenced by the extremes in physical conditioning he has subjected his body to over the years. He made me fall in love with Batman again thanks to Christopher Nolan’s more realistic interpretation of the character. He’s an Academy Award winning actor who kicks ass onscreen. There really isn’t much of that going on in Hollywood; ever!
What didn’t: Oh dear, Bale’s “Batman” voice was awful! He stumbled on to it about halfway through Batman Begins and never let go for the rest of the trilogy. I understand the need for the character to obscure his identity, but could we get the man a vocal coach for that? “Swear to me!” Sheesh! It makes me cringe even now.
What to keep: When push comes to shove, the actor must make the character his or her own. It doesn’t take a great actor to yield a great performance, but it certainly takes a great effort to do so. JL’s Batman will have some big shoes to fill, and that person had better not be intimidated in the least, otherwise the performance will suffer and sour the entire franchise. Bale’s confidence as an actor is nigh unmatched, and while the next Batman doesn’t have to be as proficient, I’d like him to at least be on the same path as an accomplished actor. Desire and dedication are absolute musts here.
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What worked: What? A voice-over actor you say? What’s he doing here? True Bat-Fans know this man as one of the most iconic voices for comic book characters next to his co-star Mark Hamill’s rendition of the Joker. He’s voiced the Dark Knight in Batman: The Animated Series, Justice League, Arkham City and Asylum, DC Universe Online, and most of the direct-to-video DC animated features like the most recent Justice League: The Flashpoint Paradox. The best voice-over actors are masters at manipulating their voice, and one of Conroy’s often overlooked skills was his distinct differentiation between Bruce Wayne’s voice and his alter ego’s. His voice brings so much life to Batman that it would be remiss to disregard his contributions to the character and is easily one of the best portrayals of Batman ever.
What didn’t: Animation is limiting due to the obvious nature of the medium, but in Conroy’s case, this is actually a benefit. The man looks nothing like Bruce Wayne/Batman. Voice-actors also have less say in the organic evolution of a performance as they are constantly being given direction over the headset in a sound booth. An actor can only control so much when they are being told to “do it this way,” as opposed to live action where several actors over the years have clashed with their directors/producers over creative differences because their embodiment of their characters gave them more political power during production.
What to keep: Never underestimate the importance of the voice. Christian Bale’s weakness is Kevin Conroy’s strength, and the next Batman has got to own intimidation, the bass, the staccato and the diction. No pressure.
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That was the easy part. Now comes what websites all over the globe love to get into and that is the theoretical casting call for who the next Batman could and possibly should be for the Justice League franchise on film. It seems a daunting task because there really isn’t a clear cut choice in Hollywood, but that assumes no one in the current talent pool is capable of a quantum leap in ability and performance.
Here are five suggestions in no particular order:
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Strengths: I still can’t believe that this is his real name, but regardless, this actor has consistently been in the rumor mill for this role, and it’s pretty obvious for some reasons. Besides the fact he’s 6’5”, 220 and there’s two of him, the man clearly has the right kind of body to step into the cape. I felt that the dramatic acting he displayed in J. Edgar is proof enough that he has the ability to be as serious with a role as he wants to be. His face is also attractive enough to sell billionaire, playboy Bruce Wayne without selling out as a stereotypical Hollywood boy toy that loses Bat-Fans everywhere.
Concerns: The Lone Ranger tanked and he had Johnny Depp’s help. This doesn’t bode well for his ability to aid in the helming of a franchise. Taylor Kitsch knows exactly what I’m talking about, and this leads me to my primary concern for Armie. How much would he really want this role? I see desire as somewhat lacking in this actor because he’s already shown the ability to act in different genres, so who knows how much he would want to buy into a franchise that will monopolize his life for a number of years into the future. Armie Hammer makes a lot of sense on paper for the next Batman, but I’m not sold on his ability to truly commit to this role. Tonto knows what I’m talking about.
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Strengths: This gentleman will be the only member (ahem) of the cast of Magic Mike that should ever be seriously considered to be the next Batman due to the fact that his face, physicality, size, shape, voice and demeanor make him one of the few bodies out there that I could see standing toe to toe with Henry Cavill. He has all the tools needed to thrive in this role, and he has demonstrated the acting ability to be intense for both action and drama.
Concerns: But, can Joe pull said intensity inside to yield the wounded loner and solemn respectability? Can he project intelligence, stratagem, leadership and experience? Supposing Warner Bros. wants this type of Batman to contrast with Cavill’s youth and inexperience, I’m sure Joe is capable once he puts that costume on, but his repertoire is not quite on par with that of Christian Bale. Limited experience and ability are the main concerns here.
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Strengths: Karl has a much better gruff voice than Bale could ever possibly wish for, and he certainly has the acting chops to pull off this role. His look is also right in line with both the Bruce Wayne and Batman personas. He also has a very respectable history of work in these types of action and CG-heavy films that would make him that much more comfortable on set. He owns the concept of deadpan intimidation.
Concerns: Dredd was not a homerun for me, and that character is pretty close to what most Hollywood productions will make Batman look like. Karl will also have to hit the gym to buff out a little because being tone might work for Star Fleet, but even Batman’s body armor needs a bit more. I would love for Urban to use Hugh Jackman’s work out regiment, but that kind of commitment might be outside of this actor’s asking price.
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Strengths: This gentleman’s name has been tossed around the internet in connection with this topic for a while, and I didn’t quite see the connection at first, but the shear deviousness he demonstrates in Dexter proves he has more than enough “dark” for the Dark Knight. He has also demonstrated the ability to project an ordered and scientific persona which relates to Batman quite well. The overall acting ability is there for Michael to be the next Batman.
Concerns: Michael has recently been undergoing treatment for Cancer and the disease is now in remission, but the physical requirements for this role may be too much of a burden for this actor. Even a modest training regiment could be unreasonable and that instantly hurts his chances. He also comes up a little short in the stature department as well as the look of his face. No offense to him personally, but I’ll come right out and say it: his ears are just too damn big!
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Strengths: If I had to pick one man, right now, to be the next Batman, Jon is it. He’s got the total package: the looks, the ability and the size. He’s a little older than some of the other actors I’ve suggested here, but I’ve always felt Batman should be older than Superman because he’s always seemed to represent the voice of experience in the hero game when these two come together. Jon has the ability to be in any kind of movie he wants which is stunning how his appearances continue to seem limited to me. It could be he’s genuinely not interested in his offers or it could be AMC’s contractual situation has him chained in their basement. Either way, if I was casting, the role would be his if he wanted it. Who knows how to act like a suave debonair better than Don Draper?
Concerns: As good of shape as he is in; the gym is the first stop for Mr. Hamm. However, this is usually the case for just about any role in an action film and something to which I’m sure he’s accustomed. Being well into his acting career might demonstrate a lacking desire and or energy to get involved in such a project, but that would be something for him to decide. He’s also not had an opportunity to demonstrate physicality in terms of hand to hand fisticuffs in many of his projects, but good stunt choreography could address this.
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This is not the be all and end all to Batman’s possibilities, and the questions will only begin to be answered when the cast for the Batman/Superman movie is announced. We can all hope that “the right decision” is made, but whoever gets tapped will only begin their challenging journey because the proof will be in the final product. For better or worse, this decision will be binding for Warner Bros. who could ill afforded a series of recasting in this iconic role which would be interpreted by the viewing public as stumbling into the Justice League franchise as opposed to marching in with heads held high as Marvel did for The Avengers.
As for the rest of the rumored actors in line to be the next Batman, I will make short-SHORT commentary in regards to why they should NOT be Batman:
Ryan Gosling (too mopey)
James Franco (too busy looking in the mirror)
Bradley Cooper (too eccentric)
Michael Fassbender (he’s Magneto)
Joseph Fiennes (too old and too British)
Wes Bentley (not enough talent)
Tom Cruise (WAY too crazy, and old)
Andrew Lincoln (too busy with The Walking Dead)
Stephen Dorff (too skinny)
Josh Holloway (isn’t he supposed to be Solid Snake?)
Matt Bomer (too pretty)
Channing Tatum (the male version of Megan Fox)
Sam Witwer (who?)
Hugh Jackman (he’s Wolverine)
Any Hemsworth boy (contractually inaccessible)
Johnny Depp (um, no)
Jason Statham (too bald and too interested in generic action films)
Joel Edgerton (his face is too fat)
Sam Worthington (owned by James Cameron)
Chris Pine (he’s Captain Kirk)
Joseph Gordon-Levitt (must have a Barry Bonds body transformation to apply)
Shia LaBeouf (come on, really?)
Ryan Reynolds (didn’t he already fail at a DC hero?)
Vin Diesel (not enough hair, talent or time)
I’m More Than a Man in a Silly Red Sheet
A Film Review of Man of Steel
By: Lawrence Napoli
The DC/Warner Bros. alliance begins its rise to challenge Marvel’s Avengers Initiative with Man of Steel, and it certainly was a heck of a way to start. This movie is big; like Michael Bay on steroids, crack and crystal meth, BIG! It also looked really expensive to make with the expected cornucopia of CG effects constantly lighting up the screen. All of the different POV perspectives on these shots as well as the aerial angles kept the audience amazed and engaged. It also paid homage to the quaint origin story made famous in the Christopher Reeve/Richard Donner films in a way that communicates the drama and exposition without letting it run on for too long. It also established Henry Cavill as the face of the Superman/Justice League franchise moving forward because the man has serious acting chops, is in peak physical condition and can be as impactful with his dialogue as he is with his fists.
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Impactful. Bang!
I am no particular fan of Zack Snyder mostly due to his efforts in Sucker Punch and Watchmen, but it’s all good because even he couldn’t screw up a story penned by the likes of David S. Goyer (Da Vinci’s Demons) and Christopher Nolan (The Dark Knight Trilogy). As fantastic as Superman’s abilities are and as epic a scale as this film presents, there remains a conscious effort in the script to keep the story grounded in reality. This was certainly one of the concerns when Man of Steel was first rumored to involve the man who created the definitive depiction of a realistic Batman onscreen. The concept of Batman isn’t as much of a stretch because with enough tech, training and resources, anyone can be Batman (which also happens to be that character’s appeal). NOT just anyone can be Superman, so how can an alien make a realistic connection with audiences that know full well that he is not human? You do it by highlighting character relationships, and in the case of Man of Steel, three keys unlock a character we can relate with. Superman’s relationship with his father, Jor-El, brings out his morality. His relationship with his human parents, the Kents, brings out his humility. And of course, his relationship with Lois brings out his determination and inspiration.
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There’s enough Lois & Clark, but there could have been more.
Those story elements were meant to converge on the question of whether a being with such powers should ever present him or herself to humanity, and just about every practical reason to remain anonymous is addressed from several perspectives, not just those within Superman’s camp. Unfortunately, the story also had to include a significant action element in the form of a bunch of pissed off Kryptonians with an axe to grind with the House of El, so Superman doesn’t exactly have a say in the matter. It’s a real shame, too, because extending a preemptive olive branch could have expanded the few scenes Superman shares with various American, government officials which gives the audience some laughs and food for thought as a plain speaking super being lays it all out for an organization that personifies the concept of control. Fighting Kryptonians also cuts into Superman’s relationship with Lois a bit as I feel the romance that clearly gets established right away, was a bit rushed – but I guess all the ladies swoon for the man with the big “S” for “Swag.”
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Swag. That’s right.
Clearly, the filmmakers wanted just about every basic element about this updated version of Superman to be firmly planted in the ground as quickly as possible before moving forward with any sequels or expanded fiction. Part of me appreciates this strategy for being extremely efficient by conveying Clark’s youth via flashbacks, while another part of me feels the drama from those missing moments take a back seat to explosions. It’s not an easy task to address an origin film in this way, but Goyer and Nolan make enough of the right decisions to error on the side of balance between the drama and action. Overall, the story is entertaining and intriguing without any significant lapses in continuity while managing to deliver a whole lot more of Kal-El’s Kryptonian heritage and the events that preceded his home planet’s demise.
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Don’t worry son. The origin tale will be quick and painless.
Do you know what $225 million tells me? It tells me that a movie with that kind of budget had better deliver some phenomenal visual eye candy via effects and CG, or else I’m demanding my money back. Thankfully, Man of Steel delivers the best onscreen effects and action sequences to date in the summer of 2013, and they all begin with the depiction of Superman’s powers. Not all of his iconic abilities are on display (as he’s clearly still learning to “test his limits”), but the ones he does show like flight, super strength, invulnerability and heat vision are very impressive. As excellent as they all look, the use of sound, from muffled grunts to the vibrations on the ground and in the air, enhances the guttural effort Kal-El exerts to do the amazing things he does. Kryptonian combat has a significant presence in the very beginning and end of Man of Steel which delivers fairly standard issue laser blasts, space ships and otherworldly technology at work. These all looked fine, but presented nothing you haven’t seen before in the likes of Avatar, T2 or (here’s an obscure reference) The 6th Day. I could say the very same thing for the destruction of Metropolis at some point, which features some pretty scary buildings collapsing all over the place that were inspired from movies like Green Lantern and just about every other disaster film (ahem, pun intended right there).
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Uh, you guys know I’m on YOUR side, right?
I wasn’t as sold on the entire cast’s performance as our EIC outlined in his Man of Steel reflection. Actors like Diane Lane as Ma Kent and Laurence Fishburne as Perry White are there strictly for star power as their moments to shine are limited, and they don’t do too much with them when they are front and center. I was particularly unimpressed with Lane as she seems to overact the crotchety old lady persona a bit to sell her advanced age which the make-up department didn’t exactly hit a home run on either. Kevin Costner is almost in the same boat for this criticism, but his contributions were worth it thanks to the poignant moment that explains his character’s tragic passing. The best supporting character, by far, was Jor-El played by Russell Crowe who officially begins his comeback from Les Misérables right now. I respect that he got into a bit better shape for this film, but his impeccable line delivery, presence and ability to gaze through the camera’s eye resonates with the audience.
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I don’t wanna hear nothing about no Javert!
I never liked most of Superman’s rogue’s gallery nor the fact that we were going to revisit General Zod in this reboot once again. The first moment Michael Shannon spoke a single line of dialogue was an instant wash for his performance in my book because I could never get past the awkwardness of his voice. I don’t know if he was purposely trying to grate his rear molars as he spoke, but he seemed like an over-angry, over-powered, spoiled little jerk who couldn’t lead fish to water. The real villain that stole the show for me was Antje Traue as Faora-Ul who is fairly attractive in as plain as Hollywood gets, and her diminutive stature wouldn’t seem to pose much of a threat to Superman, right? Wrong! Not only does she kick some serious ass, but she delivers the perfect villain’s voice, stare down, threat and general demeanor. Why these crazy Kryptonians aren’t following her is completely beyond me.
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Explain it to everyone how I’m a superior villain to Zod.
Of course, a Superman origin story ultimately boils down to him and Lois, and although I like the casting of Henry Cavill and Amy Adams in these roles, I haven’t quite bought into their onscreen chemistry which I am completely aware that they didn’t exactly have many opportunities to fully explore here. Cavill is (unfortunately) another perfectly cast, British born actor for this role thanks mostly to his exquisite physical condition and piercing blue eyes. He approaches his character with respect and dignity, so it matters not if he delivers dramatic lines in a spandex body suit. His performance as Superman isn’t going for adorable charisma like Christopher Reeve. He’s going for a simple man that has great ambitions for the future with even greater powers to accomplish them with. Adams could take a page out of Cavill’s book and loose a little “adorableness” to revisit the assertiveness she displayed in The Fighter in order to deliver a slightly less girly, Lois Lane. I like my Lois the way I like my coffee: BOLD!
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I was going for “bold,” but now I need dental implants.
I have no doubt that Man of Steel will probably be the best blockbuster, action adventure film you will see all summer long, so now’s the time to break out those loose dollars you were hiding in the cookie jar. This is a movie worth seeing on the big screen, but not necessarily on an IMAX screen as (once again) the 3D effect is nice, but it could be distracting to some and doesn’t deliver a game-changing experience. This movie sets up DC and Warner Bros. quite nicely to move their own franchise forward in a realistic-enough world that rivals The Avengers. The thing is, I don’t believe they could find a dedicated enough actor who has everything Cavill brings to the table and more (in the form of experience) to project the character of Batman on equal footing as the blue boy scout than Christian Bale himself. Seeing Man of Steel actually reaffirmed my belief in Justice League working as a film adaptation, but only with that particular Dark Knight. It’s just too bad that we didn’t get any post-credit teaser at the end of Man of Steel which my natural paranoia interprets as those who control the franchise not having a clear vision for their own future.
Our DC insider has filled us in on place for the new Batman.
300 Light
A Film Review of Immortals
By: Lawrence Napoli
