Mark Ruffalo

adam-project-traielr-ryan-reynolds
Movie Trailers

‘The Adam Project’ Time Traveling Trailer Stars Ryan Reynolds

Netflix has released the trailer for The Adam Project which stars Ryan Reynolds, Mark Ruffalo, Jennifer Garner, and Zoe Saldana. The first poster has also been released and teases, “Past, meet future.” The flick is described as: After accidentally crash-landing in 2022, time-traveling fighter pilot Adam Reed (Reynolds) teams up with his 12-year-old self on a mission

marvel-rumor-ditch-mark-ruffalo-goofy-hulk
Marvel Movie News TV News

Marvel Rumored To Ditch Mark Ruffalo Goofy Hulk

It’s rumored that Marvel is going to ditch the Mark Ruffalo Goofy Hulk that was featured in The Avengers: Endgame for the upcoming She-Hulk Disney Plus series. The rumor via Giant Freakin Robot offers that Bruce Banner will become human again and that the Smart Hulk merged personality will be no more. The rumor doesn’t

she-hulk-mark-ruffalo-set-images
Marvel Movie News

She-Hulk: First Look At Mark Ruffalo On Set

We get our first look at the She-Hulk Marvel series coming to Disney Plus revealing actor Mark Ruffalo who can be seen in a mo-cap suit.  An actress a part of the series, Anais Almonte, posted the pics on Facebook adding, “What a Plessure to met Mark Ruffalo on the set of Marvel, always inspired by

2016-oscars
Movie News Reviews

2016 Oscars Results, Recap & Opinions

[[wysiwyg_imageupload:24521:]]

Holy Oscar Fallout 2016!

By Lawrence Napoli

(Editor’s note: the article was written live as the Oscars happened)

 

As the red carpet nonsense starts to simmer down, I’m thinking about a couple of things.  First, is it beyond a foregone conclusion that Leo takes home his first Oscar?  It does seem it would take an act of God to prevent this from occurring seeing how he has as much hype to win as any other “favored” star in the past.  Second, what is Chris Rock going to do or say: Is he going to play it safe – corporate and PC – or is he going to set the show on fire?  Third, what kind of surprises are we going to experience during the show (please let there be an appearance by Deadpool)?  I hope the show producers do more than simply speed things along, but find an entertaining twist without using musical interludes as a crutch.  Fourth, will there be more disdain for the rise of comic book/special effect driven adventure films, or will there be a deeper appreciation for the ones that really pull out all the stops?  Blockbusters deliver the magical spectacle to audiences as well as any other heavy handed drama.  I understand the argument for over-saturation, but purists should shut their mouths when it comes to scoffing at and mocking these films.  There’s nothing wrong with bringing more attention to smaller, indie productions that have bare bones budgets and make their films as much about “the art” as possible, but make no mistake, The Academy Awards is a show that is much more about money and politics in Hollywood and studios that own winners have big pay days to cash in on.  We’ll leave post show analysis to the end and hopefully we will be treated to a good one; on with the show.

[Side note: Holy crap!  It’s Louis Gossett Jr. prior to the show! He had a great message regarding diversity that was short, sweet and poignant and probably going to be ignored by the majority of people on the planet.]

[[wysiwyg_imageupload:24514:]]

Opening Monologue by Chris Rock: All race; all the time.  Major props go out to Chris for not shying away from the issue and going straight for the jugular and never letting it settle for the entire speech.  He had a great observation regarding the racism of Hollywood as “Sorority Racism.”  Sure we like you, but you’re not a Kappa.  This is perhaps the most accurate description of Hollywood racism (and let’s be honest, Corporate racism) and you’ll probably be hearing this repeated on social media, but probably not the mainstream.  He may have gone a bit far with that bit regarding the “In Memoriam” sequence of black people being shot on their way to the Oscars, though.  Let’s just say that Ellen would have about zero percent chance at addressing the elephant in the room, but Chris Rock was pretty calm and collected the whole time, and he kept at it and didn’t give it a chance to dissipate.  

Really Charlize, writers are the backbone of the industry?  Two words: my ass (also written by a writer).  If that were really true, they’d be getting paid much more and we’d be getting higher quality stories. 

Best Original Screenplay:  SpotlightTom McCarthy and Josh Singer are our first candidates to ignore the thank you scroll at the bottom of the screen who get played off stage cutting off their speeches. 

[[wysiwyg_imageupload:24515:]]

Best Adapted Screenplay: (Good awkward comedy between Russell Crowe and Ryan Gosling) The Big ShortAdam McKay and Charles Randolph also get played off stage by the orchestra.  I predict that the Academy will attempt to damage control the lack of diversity among its nominees by putting corporate big money in as much bad light as possible.  This means that The Big Short will probably win best picture.

Oh My.  Chris Rock certainly has the racism angle playing strong with the “funny” media promos featuring black people that didn’t make the cut for The Martian, The Danish Girl and Joy with help from Whoopi Goldberg and Tracy Morgan.

Sarah Silverman making fun of James Bond.  One word: Yikes!

Sam Smith performing “The Writing’s on the Wal”l theme from Spectre was nice, but certainly not an example of his best vocal work live or recorded.  I felt he forced it a little bit as opposed to being smooth and legato.

Best Supporting Actress: Alicia Vikander for The Danish Girl.  Seeing her performance in The Man from U.N.C.L.E. didn’t exactly pave the way for her victory here.  The effort she made in Ex Machina was certainly more telling.  Ultimately, it was a great performance in a period piece for a British actress that brought home the gold for this relative newcomer.  Well done Alicia.  2015 was an incredibly busy year for you.   

Best Costume Design:  Jenny Beavan for Mad Max: Fury Road.  WOW!  This was a legitimate surprise for me.  Usually this award goes directly to one of the annual period pieces, but to go to an action film was pretty bold. 

Best Production Design: Colin Gibson and Lisa Thompson for Mad Max: Fury Road.  

[[wysiwyg_imageupload:24516:]]

The Joker (Jared Leto) and Harley Quinn (Margot Robbie) present for best makeup.  Appropriate.

Best Makeup: Vanderwalt, Wardega and Martin for Mad Max: Fury Road.  They probably should have seated these folks a bit closer to the stage than the nosebleeds.

Best Cinematography:  Emmanuel Lubezki forThe Revenant.  There was never any doubt.  No film in 2015 did more with its framing than this.  The cinematography made the harsh environment of this film as imposing a character as any other in this story.

Best Film Editing:  Margaret Sixel for Mad Max: Fury Road.  The George Miller juggernaut continues to roll, and it’s only picking up steam.  Thank you again orchestra for another awkward play off.

[Black History Month Presentation thanking Jack Black for his contributions was a tactical jab at Will Smith for his personal boycott of the Oscars.  This being the second moment Chris Rock put the finger on the Smith household is more than likely going to start a Twitter war.  The Smith’s are likely to be righteously pissed come the morning.]

[[wysiwyg_imageupload:24517:]]

Black Panther (Chadwick Boseman) and Captain America (Chris Evans) present Best Sound Editing: which goes to Mark Mangini and David White for Mad Max: Fury Road.  Ah, cursing blotted out by the satellite delay.  Well done sound editors!  More love for George Miller!

Best Sound Mixing:  Jenkins, Rudloff and Osmo for Mad Max: Fury Road.  Thanks to Australians!  I’m starting to get upset with the show’s director and orchestra for not giving the film production nerds a chance to say anything.

Best Visual Effects:  Whitehurst, Norris, Adington and Bennett for Ex Machina.  Hey, let’s give it up for a film not named Mad Max: Fury Road for winning something in a while.  I don’t mind the extra kick to the groin The Force Awakens gets for its continued snubbing for the tech categories.  Star Wars doesn’t need awards as cash is king in this business, and Episode 7 has plenty last I checked.

[[wysiwyg_imageupload:24518:]]

[C-3P0, R2-D2 and BB-8 make an appearance to give some love to John Williams.  Sorry guys, you still haven’t won anything tonight.]  

[Chris Rock fleecing his daughters to sell Girl Scout cookies continues the strange live interaction with the audience moment recent Oscar shows have adopted.] 

Best Animated Short:  Gabriel Osorio and Pato Escala forBear Story.  First Oscar for the country of Chile, well done folks!

Best Animated Feature Film:  Pete Docter and Jonas Rivera for Inside Out.  Once again, the winner for the Disney/Pixar category is another Disney/Pixar film.  Yawn.

[Kevin Hart bringing more attention to Chris Rock’s agenda and even more cursing blotted out by the satellite delay.]

Best Supporting Actor: Mark Rylance for Bridge of Spies.  Well, a Steven Spielberg film had to go home with something, even if it’s another period piece, even if it’s using another backdrop for war.  No disrespect for Mr. Rylance, but this was a disappointment for me as I felt that either Christian Bale or Mark Ruffalo had this one in the bag.  Oh well.   

Best Documentary Short Film:  Louis C.K. found a way to lighten up an otherwise dull presentation due to its heavy subject matter.  I agree that this award can genuinely change the lives for the winner Sharmeen Obaid-Chinoy for A Girl in the River: The Price of Forgiveness

Best Documentary Feature:  Asif Kapadia and James Gay-Rees for Amy.  Not a surprise here.  Amy was critically acclaimed at every turn and in every film festival it was presented in.  This was the equivalent of a Michael Moore documentary competing against the field.

A nice speech made by the president of the Academy regarding a more positive angle on the race issue in Hollywood, but despite the total combined political power in the entire auditorium, I feel this speech needs to be shared with the CEO’s and board of directors of every major studio and media conglomerate because they are the true gatekeepers.

In Memoriam was, once again, a classy remembrance of talented stars gone, but not forgotten.

Best Live Action Short Film:  Benjamin Cleary and Serena Armitage for Stutterer

Best Foreign Language Film:  Lazlo Nemes for Son of Saul

Best Original Score:  Ennio Morricone for The Hateful Eight.  There was lots of love from Quincy Jones and much love for Tarantino and Harvey Weinstein in Ennio’s speech.  Thank goodness they gave him time to have his short speech translated.

Best Original Song:  Jimmy Napes and Sam Smith for Spectre – The Writing’s on the Wall.  Well, if they gave one to Adele for doing a James Bond theme song they have to give one to Sam Smith for doing the same.  Was anyone surprised here?  Seriously, anyone?

Best Director:  Alejandro G. Iñárritu for The Revenant.  Why was J.J. presenting for this category when Alejandro won last year.  Oh yeah, because he can’t present it to himself and as soon as I saw J.J., I knew, it was Alejandro’s time once again.  Once again, an awful orchestral playoff to knock out his acceptance speech, but he stuck it through to finish strong despite the distraction.  Stop doing it!

Best Actress:  Brie Larson for Room.  Another actress who had political momentum leading into this evening as well as strong showings in festivals took home the gold.  She actually kept her acceptance speech very short and very sweet. 

[[wysiwyg_imageupload:24519:]]

Best Actor:  Leonardo DiCaprio for The Revenant.  Finally.  It’s been a long time coming for the king of the world.  Leo pulled out all the stops on this one because it was full of raw emotion despite the fact it wasn’t a very talky role.  Pretty excellent as far as acceptance speeches go and whether or not you agree with his politics, you cannot argue with Leo’s sincerity. 

Best Picture:  Spotlight.  Wow.  Holy cow!  No pun intended.  In an evening of politics, the filmmakers here call out Pope Francis. It appears as though the Left has heard the Right in the news these past few months and a ton of crazy rhetoric has not gone un-countered.  Hollywood drew its line in the sand regarding race, the environment, the church and the corporate conglomerate.  I’m not so surprised that this film won more than the fact it won with very little build up individually prior to this evening.  With Mad Max taking so many artistic and tech categories, it could have taken the grand prize.  Leo and Alejandro’s wins for two major categories could have done the same.  Everyone (other than the rich) hated Wall Street for the housing market disaster so there was a lot of talk for The Big Short.  Still, congratulations to the victors, and we will soon see the various responses to what has occurred this evening.

In Conclusion:  Another Academy Award show has come and gone and there was a solid mix of expected outcomes as well as surprises.  Chris Rock took early command of the show and kept hammering at the race angle all evening long.  Mad Max: Fury Road was more than a dark horse as the sheer number of categories it won had to have made it the second or third most important film of 2015.  Leo can finally return to his magical mountain of mystical fairy virgins with his golden trophy.  How about that big old goose egg for Star Wars?  I’ve said it before and I’ll say it again, Straight Outta Compton was woefully snubbed because it featured some damn fine acting by a cast of relative newcomers, and it was a very entertaining film overall. 

I will say this in regards to diversity in Hollywood.  Chris Rock made it very clear that more diversity means more roles, opportunities and recognition for black actors.  Well, it really means more than that because the Oscars aren’t the BET awards that he invited everyone in the audience to attend next year.  Yes, Hollywood IS “Sorority Racist,” but it needs equally strong recognition for Asians, Hispanics and far more cultures and ethnicities, too.  As I said earlier in this overview, the studio heads need to lead on this issue.  Unfortunately, IF the rumor is true regarding Hollywood coveting the Chinese market over all others, and IF the rumor is true that Chinese audiences don’t want to see black people in films they see, then no amount of socially responsible discussions and debates is going to amount to a hill of beans because white, yellow or black are colors that are irrelevant when compared to the color of green.

[page_title]
Marvel Movie News Reviews

Who Leads DC’s and Marvel’s Cinematic Realities?

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?

[[wysiwyg_imageupload:13631:]]

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.

[[wysiwyg_imageupload:13632:]]

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. 

[[wysiwyg_imageupload:13633:]]

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. 

[[wysiwyg_imageupload:13634:]]

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.

[[wysiwyg_imageupload:13635:]]

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.”

[[wysiwyg_imageupload:13636:]]

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.

[[wysiwyg_imageupload:13637:]]

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.” 

[[wysiwyg_imageupload:13638:]]

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.

[[wysiwyg_imageupload:13639:]]

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!

[[wysiwyg_imageupload:13640:]]

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.”  

Please enable JavaScript in your browser.