We’ve got what you want, what you need AND what you deserve on this week’s Failed Critics triple bill special episode with not one, not two, but a whole bunch of Wonder Women – and we’re not just referring to Maaya Brooker!
In an ugly, grey and corrupted world, Wonder Woman impresses Owen Hughes to be one of the best comic book movies we’re likely to get this year. Read his full review below.
Hello and welcome to another episode of the Failed Critics Podcast. Proving that they’re not just a pair of losers with no friends, hosts Steve Norman and Owen Hughes are back again but this time Paul Field and Tony Black join them.
As ever the podcast kicks off with a quiz, this week hosted by Steve, that puts the Failed Critics’ soap knowledge to the test, before they move on to What We’ve Been Watching. Paul makes a bold declaration that Park Chan-wook’s Handmaiden is the Oldboy director’s best film yet; Steve also takes a trip to Korean cinema with zombie-thriller Train to Busan; Tony reaches peak noughties teen melodrama as he continues his run-through of Smallville; and Owen laments ever letting Paul know his address after receiving a copy of British gangster-exploitation flick Killer Bitch in the post.
The big new release this week for the team to chew over is Simon Barrett and Adam Wingard’s eagerly anticipated Blair Witch, the sequel to the iconic cult classic, The Blair Witch Project in case you were wondering. It also leads to the second quiz of the week, with Paul surprising the other three with a game of ‘Bitch’ or ‘Witch’!
Join us again next week for a special triple bill of our favourite westerns as The Magnificent Seven remake hits the silver screen.
Wearing skimpy clothes and carrying a baseball bat with a miserable face carved into it with a compass, Steve “Har-leaky Quim” Norman is not about to let your perception of his sexual promiscuity define him as he wanders in to lead this week’s podcast, all about DC’s latest entry to their extended movie universe: it’s David Ayer’s rogues-done-good ensemble actioner, Suicide Squad.
Taking pot-shots at the film with his uber-cool Nerf missile launcher strapped to his bogey-covered sleeve, Andrew “Deadsnot” Brooker lends a slightly-crusty hand on this week’s episode. As does Owen “The Inch-and-less” Hughes, possessed by the spirit of a stroppy old misanthropic witch, but you probably can’t tell that there’s anything different about him compared with any previous podcast appearance in fairness.
Suicide Squad gets a once over from the ragtag bunch of misfits spoiler-free, before a post-credits review that delves more deeply into some of the finer points of the plot, should you wish to listen to us prattle on even longer.
We also preview Hunter Johnson’s upcoming indie-horror 2 Jennifer – the sequel to James Cullen Bressack’s 2013 indie thriller To Jennifer – shot entirely on an iPhone, as well as Steve’s rewatch of iconic American TV series Homeland, plus a first watch of this year’s folk-horror The Witch. The Asylum doesn’t escape criticism on the pod either after releasing yet another entry in the unbelievably popular franchise, Sharknado 4: The 4th Awakens.
“That is a whole lot of pretty. And a whole lot of crazy.”
As I write this, it’s 3am on Suicide Squad release day. I’m absolutely exhausted and I’m in desperate need of sleep. The problem is, I’m fresh back from the midnight screening of my most anticipated movie of 2016 and I’m all hyped up on the pure adrenaline rush that I just saw.
I promise, I’ll try to be as coherent as possible.
The Skwad‘s story is a dead simple one. Seven or eight criminals, all varying degrees of nasty-bastard or crazy-nutbag have been brought together by the powers that be to form Task Force X: a literal suicide squad that the government can throw in at the deep end with complete deniability if something goes wrong.
And wouldn’t you know it? Just as they’ve wrapped up the back stories, along comes a shifty looking supernatural thing that means to destroy humanity and rule the world. Fitted with explosive low-jacks and threatened with imminent death, the squad are airlifted into Midway City. Their mission: traverse the ruined streets to rescue and evacuate a high value target, and take out the apocalyptic threat in the heart of the city.
Adding to their woes is world-famous psychopath and world creepy laugh champion, The Joker (Jared Leto). Caring little for the squad’s mission, the crazed maniac just wants to be on the same side of the prison walls as his sweetheart and Task Force X member Harley Quinn (Margot Robbie). As such, he is inserting himself into the squad’s lives whether they want him their or not. It’s all fun and games if you’re a bad guy.
This is still early on in DC’s extended cinematic universe, but my biggest fear going in was that I’m not a comic book reader. I had the same issues when we started getting invested more in the MCU and I had no more than a passing acquaintance with some of these characters. It’s the same with DC. Outside of Batman, The Joker and the many and varied Batman villains from the films, the only knowledge I have of a lot of these characters comes from playing the Arkham video games and DC’s TV universe.
So when poor reviews (the only time I’ll mention those) poured in this week and director David Ayer – a real long-time favourite of mine – came out and gave the infuriating “I made it for the fans” quote, I was concerned that I was gonna be left out in the cold, not knowing what the hell was going on nor who anyone was.
Luckily, this wasn’t the case at all. In the opening minutes, we are introduced to the ragtag group of criminals in a way that you might expect from an Expendables movie or Borderlands video game. Each member of the team gets their own little over the top vignette to give us a look at who they are and why they’re here. And man, what an impressive cast we get.
A quick rundown I reckon, but you don’t need much more. Impressively, the film gives you everything you need and you came here for a review, not a bullet-pointed list.
Will Smith’s Deadshot is the most prominent character. The man that never misses is a killer-for-hire, but is easily manipulated into doing as he’s told by the powers that be; and man does that make Mr Smith mad! Margot Robbie’s Harley Quinn and Jared Leto’s Joker are the King and Queen of Gotham City. With one of the pair of psychos in prison and the other trying to free them from the government’s clutches, their story (and their chemistry) is, as expected, a highlight of the film.
Theirs isn’t the only exploited relationship here. Joel Kinnaman’s Rick Flag is a decorated special forces colonel who is dragged in as Task Force X’s on-the-ground leader. Whether or not he agrees with them, he always follows his orders. In no small part because of his relationship with Dr June Moone. Cara Delavingne plays the good doctor, whose body is inhabited by the eons old Enchantress; a character deserving of her own horror movie she’s so spooky. Jay Hernandez gets to sink his teeth into Diablo, a pyrokinetic former gang member haunted by the deaths that he’s caused. Adewale Akinnuoye-Agbaje’s reptilian Killer Croc is the muscle of the group. A sewer dwelling monster that seems almost unstoppable, Croc is a product of the way he’s been treated because of how he looks (absolutely NOT a political statement, I’m sure). Jai Courtney is almost unrecognisable as thief and killer Captain Boomerang; and Karen Fukuhara brings up the rear as Kitana, a deadly martial artist with a soul stealing sword and close friend of Rick Flag. Like I said, ragtag!
Running the show though, is Viola Davis’ Amanda Waller. A ruthless, heartless woman who can manipulate anyone to to what she wants. Compared to this vicious bitch, Task Force X are a Boy Scout troop.
This massive ensemble can lead to problems, especially for a film this early on in a universe that we are expected to invest in. Everyone has a backstory and only a small percentage of the cinema going audience are going to know it before the opening titles roll. It means you have to get me, a film lover but a comic book virgin, invested in your characters without sacrificing too much screen time or turning your film into a PowerPoint presentation. Thankfully, I think Ayer (who was also on writing duties for our anti-heroes) gets the balance just right. Mixing in an occasional flashback with a little dialogue-driven exposition during the lulls in action to make sure that by the time the credits roll, we are all caught up and more or less on an even footing with the comic book lovers that came with you to see the film.
That’s not to say the film doesn’t have problems. In fact, I’m almost – ALMOST – feeling a little forgiving of Batman Vs. Superman: Dawn of Justice after watching Suicide Squad. The film has many of the same problems as its predecessor and I’m starting to think that a large part of it is studio interference and not just director incompetence. I mean, Bats Vs. Supes definitely suffers from having a rubbish director and, in my humble and slightly David Ayer fanboy opinion, the Squad doesn’t have that issue. But the film has been edited down into a bit of a mess. It’s not unwatchable, not by any stretch of the imagination, but there are very obviously bits missing and evidence of chopping and changing that messes with the film’s pace a little.
Luckily, a competent writer and director has led the charge for this film and he’s clearly taken a hands on role in the editing of this film so it’s not been shredded to within an inch of its life like the previous entry in the franchise has.
While I thought he was probably the weakest character in the film, Leto’s Joker was interesting to watch. He bounced almost incoherently between quiet psychopath and feral monster. Both iterations are fun to watch but he gets woefully little screen time to build the character. That said, it’s not his film. It’s his introduction to this Extended Universe and I am looking forward to seeing his character grow.
On the other side of that coin though, Harley Quinn is portrayed brilliantly by Robbie. In a role that could be easily overplayed and annoying (or worse, over-sexualised and used simply as teenage masturbatory material) she’s been written so well and portrayed so brilliantly that every flash of that typical hyper-sexualisation, that would be simply gross in most instances, is owned by Quinn. It’s her doing it and she’s not just the daft doll she pretends to be. Every overtly sexual act is empowering for her – and I bloody love her for that!
Everyone stands out though. Every character is fun to watch. Smith’s Deadshot is pretty much just Will Smith; wise-cracking, smart-talking and always cool to watch. Delavingne’s Enchantress is creepy and scary. I would love to see DC break the mould and do a full on horror film prequel for the 6000 year old witch. The same goes for everyone. Captain Boomerang, Killer Croc, Rick Flag; the whole bunch are fun to watch. I would love to see more of Kitana, but that’s my love of watching great martial arts on screen talking. And a part of me that thinks she needed just a little bit more screen time.
I would kill for some more Diablo. Jay Hernandez blew me away as the gang leader that is trying desperately to live in peace, regretting every life he’s snuffed out with his gift. His quiet and reserved demeanour, juxtaposed with what happens when he lets himself fight with his new team is a beautiful thing to watch and I will queue up for every single film that DC want to put this man in. He’s amazing.
The film is such a tremendous amount of fun, you just can’t help but smile your way through. It’s certainly helped by having one of the most fun “various artists” soundtracks this year. The music compliments the film brilliantly.
Ok, there is one jarring section at the beginning of the film where, and I didn’t realise this was even a thing, but the film somehow smash-cuts the bloody soundtrack together giving us three very different tracks in just a few minutes, one after the other. Overall, though, a very good effort on the licensed music front.
I still think DC has a long way to go to be able to solidify this Extended Universe they are trying for. In the hands of lesser filmmakers these films could fail miserably. Batman Vs. Superman is testament to that.
Like I said, Suicide Squad shares many of the same problems, but competent filmmaking helps a lot. However, you know what helps it more? The film is fun. It’s non-stop, guilty pleasure style action. Roll on the blu-ray release, it’ll take pride of place on my shelf right next to Punisher: War Zone.
It might not be the podcast you wanted, but it’s the podcast you deserve. It’s the proper critics in one corner, the audience in another corner, and your hosts Steve Norman and Owen Hughes with special guests Brian Plank and Andrew Brooker in the other corner. The final corner is where Sad Ben Affleck is hanging his head in disappointment, next to Henry Cavill’s pile of gold.
That’s right, this week we’re reviewing DC’s latest $250m mega-blockbuster, Batman v Superman: Dawn of Justice. Divisive amongst those who’ve watched it, as well as on this episode. We’ve a full spoiler-free review where the team discuss everything they liked (mainly Batfleck) and didn’t like without giving away much, before Spoiler Alert Returns towards the end.
Also on this episode: Owen reviews freshly released found-footage horror JeruZalem (that’s with a capital ‘Z’ and no lower case ‘s’); Brian prepares for Zack Snyder’s superhero movie in the only way he knew how… by watching Kramer vs Kramer…; Brooker revisits Failed Critics favourite Kill Your Friends; and Steve finally catches up with our third best film of last year, Disney Pixar’s Inside Out.
Join us again next week for any episode that’s probably not going to be 50% comic book oriented.
“I’m not here to threaten you, I’m here to kill you.”
Over the last couple of days, the world (and the heads of quite a few fanboys) have exploded with this Batman v Superman lark. As everyone tries to shout their theory about who would win and why, I want to bring up a slightly quieter little fight that’s been going on in our homes; less a one-on-one versus match, and more a battle royal for the ages. I’m talking, of course, about the DC and Marvel television universes.
Kicking off some 15 years ago, Warner Brothers fired the first shots when it brought probably the most successful comic book to TV adaptation to date to the small screen. Smallville was the story of young Clark Kent growing up in a little town in Kansas trying to – literally – find his place in the world. We spent ten years with young master Kent from high school to his time at the Daily Planet. Even as the ratings started to drop, it was much more successful for Warner than that bloody awful Superman Returns was.
With the rise of Smallville, everyone wanted a piece of the pie and it meant we, the viewing public, were subjected to some of the most awful cash-in TV that we’ve ever had to suffer with. Do we remember the terrible Gotham City set Birds of Prey? Or the ghastly Human Target? Warner and DC seemed to be happy to hope that some of the shit they threw at the wall would stick.
It didn’t. But they weren’t alone; Marvel tried to bring a film property they’d just screwed royally back to TV and make a few quid. Oh Blade, how I tried to love you. But you were so, so bad. Sticky Fingaz – yes, that’s his name – is an okay actor, he was great in The Shield, but as the vampire hunting day walker, man he was bad.
Fast forward a few years and we have found ourselves in an amazing little time in television. Hiding behind the super-high budget HBO style TV that gets accolade after accolade, is a slew of cool TV based on comic book properties both famous and not-so famous and what I’m going to do is put them head-to-head, Dawn of Justice style. Ok, I’m going to put some of them head-to-head – mainly because I’ve not watched iZombie and can’t really see myself doing so anytime soon.
Gotham (DC – 2014) vs. Powers (Marvel – 2015)
Let’s kick things off with the two shows that, while they are based on DC and Marvel properties, don’t really have much in the way of backing from those companies. Produced by Fox and Sony respectively, with the latter being available exclusively to American PlayStation Network customers, these are the two biggest risks, in my opinion, to their production companies.
Bat-baby vs a weird anti-Heroes/Alien Nation thing that never did quite get off the ground for me. Gotham‘s focus on a young Detective Gordon as the scum of the Batman comics rise from the dirt and make themselves known is brilliantly compelling TV that still keeps me glued week in, week out. Powers, on the other hand, was a flat attempt at getting a foot in the door of an already saturated film and television market. I could only bring myself to waste a couple of hours of my life with it before I had to give up.
Supergirl (DC – 2015) vs. Jessica Jones (Marvel – 2015)
Yes, I’m pitching the girls against each other. No, it’s not out of any kind of agenda outside of I couldn’t decide who to put up against who. Anyways…
Supergirl is probably the closest we’ve gotten to having the success that Smallville saw replicated and forced upon us. The story of Superman’s long lost cousin, Kara Zor-El, a girl sent to protect a young Kal-El who, after a twist of fate arrives on Earth long after he has become the Man of Steel is a sadly boring one. We tried, we honestly did. We broke our “three episodes and out” rule trying to find good TV but the show came up short. I couldn’t care less about the characters on screen, the story they are telling or anything else to do with that show, frankly.
On the other hand, Marvel’s Jessica Jones is the dark and twisted tale of a woman struggling to get out of an abusive relationship with a person who uses their powers for nothing but evil. Essentially an investigative journalism drama with super strength and some pretty hilarious sex scenes. Jones divided audiences when she hit Netflix last year, but she’s definitely the stronger of the two here.
Winner : Jessica Jones
Legends of Tomorrow (DC – 2016) vs. Agents of S.H.I.E.L.D (Marvel – 2013)
DC’s ensemble spin-off, rolling in a few characters from its big sister shows (and a really crap Iron Man wannabe) isn’t really far enough in to make a judgement yet, but the episodes I watched have just been uninspired dross, playing off of the success of the shows that spawned it and not really living up to them, yet. I admit, I will probably let it go on a little longer before I give up, but it definitely needs to up its game.
Marvel’s offering isn’t doing itself any favours either. Basically doing the same thing as Legends of Tomorrow, it’s a massive ensemble piece loading in all those lesser known superheroes from the Marvel universe into a little sardine tin of X-Files style monster of the week episodes and Cinematic Universe Easter eggs. I gave up on this before the first season was done.
Winner: Neither of them. They’re both as pants as each other.
The Flash (DC – 2014) vs. Agent Carter (Marvel – 2015)
DC’s ultimate marathon runner didn’t grab me at first. I thought the show was a bit too Saturday morning cartoon-ish and honestly, I only continued to watch it because it shared a universe with Arrow. I’ll give The Flash its due, it’s a fun little show and it’s decent TV. But seasons seem to sag in the middle with writers seemingly not able to keep the pace up with 22 episode seasons. I don’t hate it, I just wish it was more engaging, more of the time.
Peggy Carter, on the other hand, and her fun little slice of World War II espionage drama, aside from keeping seasons to a brisk 8 and 10 episodes, never failed to be interesting. The story of her double life of secretary by day and investigator by night is woefully underrated. While a third season seems unlikely, the show’s first two seasons are well worth your time.
Winner: Agent Carter – and it has nothing, whatsoever, to do with me loving Hayley Atwell a little bit.
Arrow (DC – 2012) vs. Daredevil (Marvel – 2015)
Here we are ladies and gentlemen. The main event of the evening.
I knew absolutely nothing about The Green Arrow when this series first started, but seeing as it was the first of these shows I gave it a shot. And I really enjoyed it, for a year and a half! I gave up not far into season two and had to be convinced to try it again and stick it out because it improves (and plays as a soft-pilot for The Flash) and so I did. And I loved it. One of the few shows that we watch every week religiously and getting towards the end of season four, it’s still decent. Dodgy mate wearing cheap knock-off Judge Dredd helmet aside.
Now, Daredevil, man. Didn’t we all think this would be dog shit? Yeah, we did. Netflix’s first attempt at getting into Marvel’s universe was dark, brooding, violent; everything the MCU isn’t. And we loved it. With one of the greatest and most terrifying bad guys ever put to screen in Wilson Fisk in season one, Daredevil instantly solidified itself as one of the best TV shows to date, and may that stay true for years to come.
Winner: A solid draw. Both are great TV shows.
Preacher (DC – 2016) vs. Luke Cage (Marvel -2016)
Battle of the upcoming shows? Preacher is the dark and violent DC comic book that AMC are producing. Due in a couple of months, DC seem to be trying their hand at the dark and twisted stuff, while giving it to the Breaking Bad producing AMC to show distance if it fails. I’m certainly intrigued and going in open minded. We can but hope.
Luke Cage, on the other hand, the super strong and indestructible bar owner first introduced in last year’s Jessica Jones looks like it might be the most “fun” of all the Netflix adaptations. Roll on September, this is gonna be a hell of a fight.
Winner: Only time will tell.
No list like this would be complete without a few “also rans” that either didn’t fit, didn’t make the cut or no-one has heard of. DC’s spin-off of a spin-off Lucifer doesn’t seem to be getting much traction. Which is a crying shame, it’s great television, with a Constantine type feel to it, I fear it’ll suffer the same fate as the Hellblazer adaptation.
The Marvel side of things only has one thing worth mentioning, as far as I am concerned. The rumoured Netflix show that’ll give Daredevil season two’s Frank Castle the spotlight he deserves. Another Punisher movie would certainly be welcome, but the Punisher by Netflix? That would be all my dreams come true.
Us. The TV watching audience. Because for the most part, this is some damn good television. Competition breeds excellence. Long may it continue.
This isn’t the film you wanted, but it’s the film you deserve.
I’ve seen that line totted out recently in relation to Zack Snyder’s latest offering in the newly established DC cinematic universe. Often by folks that I’m dubious as to their claims of having actually seen the movie yet.
Nevertheless, to quote Steve Coogan’s fantastic fictionalised autobiography I, Partridge, as an adolescent Alan is called ‘Smelly Alan Fartridge’ by his school tormenters, it’s a line that is “about 3% as clever as it thinks it is”. Or I guess maybe it’s 1%. But if there’s a 1% chance, then it should be taken as an absolute certainty, right?
It’s mainly a statement repeated in relation to the bleak, cold, depressing realisation of the world that Superman – and now also apparently his nemesis Batman – inhabits, where humour, warmth and vibrant colour are secondary to moody, dreary greys, suspicion, paranoia and snarling teeth.
Batman v Superman: Dawn of Justice isn’t an AC/DC soundtracked flash of electric-blue, pyjama-clad heroes, comic-book niceness. Nor does it ever try to be anything but what it is. Nor should it even try to be anything else.
This is a place, as established in 2013’s divisive blockbuster Man of Steel, where an alien descended from a dying world to be raised amongst us, as one of us, to love us and protect us until he was old enough to decide whether to make the ultimate sacrifice to save us from ourselves/angry aliens. By, er, destroying half of the largest city in the US during a fist fight with said angry alien that resulted in thousands of collateral deaths. Deaths that an angry billionaire human dressed in a bat costume now wants to avenge. As does another psychotic billionaire by the name of Lex Luthor, with slightly more suspect motivations.
If the unremittingly desperate and sullen tone for this first live-action, big screen clash between DC’s iconic superheroes is what we deserve, then I’m OK with that. It sure as Hell is exactly how I wanted it to be in a number of different ways.
That isn’t to say the whole movie is exactly what I wanted from Snyder’s second foray into the often unforgiving spectrum of comicbook fanboy elitism. Just as Man of Steel left millions of steaming big blue boy scout fans loudly exclaiming “that’s not my Superman”, as if that was at all relevant, then just wait until the masses get ahold of the virtually unrecognisable character traits of their beloved caped crusader. If the internet could be fitted with a blast screen, now would be the time to assemble it.
The Dark Knight has always been, well, dark. Cracking bones, smashing skulls, practically crippling criminals for the rest of their life, all in the name of justice as he carefully tiptoes along the delicate line of his moral conscience, never straying into the territory that there’s no coming back from. But here, there are some rather extreme and remorseless attacks by the Bat that will please fans wanting a more grown up comic book film, as well as pop a few pulsating veins on the temples of outraged viewers.
Personally, I think it’s precious to perceive only one possible interpretation of a character that has seen hundreds of writers and dozens of actors portray him. Who’s to say that the kooky Adam West version is not the definitive creation? Or what about Tim Burton’s criminal-burning take in Batman Returns? Why not use Frank Miller’s portrayal of a grizzled old Bruce as the only measure?
The best versions of Batman in the comics in recent years have been, to my mind, when he went insane during Grant Morrison’s series that began a decade ago this year, and in writer Scott Snyder’s Detective Comics run – when it wasn’t even Bruce Wayne who was Batman, it was Dick Grayson. So really, it just doesn’t matter which you prefer, or what you think makes Batman the character he is; there are literally hundreds (if not thousands) of representations of the character that are as valid as each other. This movie is no exception to that rule.
However, I feel like I’m explaining myself around the issues with this movie, of which there are plenty. Much like when George Clooney put on the cape and cowl (and nipple-plate), it’s hard to separate Ben Affleck from Bruce Wayne. Maybe that’s an unfair criticism as it’s a fine performance, but whenever he’s out of the mask, it’s hard to see past Ben Affleck. He also acts the chops off of his opposite number, with Henry Cavill caught in the headlights of a crash-bang-wallop barnstorming Batman movie where he is playing second fiddle in what should be his sequel. His story. His character’s atonement.
Ignorance is not the same as innocence, or so we’re told, which leaves the film to question how the red-caped Übermensch can continue to separate his private life from that of his heroic exploits. A hole was ripped through the centre of the planet not 18 months ago thanks in no small part to his own quest for knowledge, yet here he his saving children from burning buildings and being heralded as a messiah. I would not be the first person to scratch my head at the hypocrisies of the DC universe, but it at least tries to answer some of the questions it poses. Admittedly, Democracy v Superman would probably not have been a snappy title for the film.
And therein lies its biggest issue. I do like Man of Steel. Very much. In fact, Thursday evening, I saw a double-bill of it followed by a Batman v Superman midnight screening, and quite happily endured it. The dialogue is blunt, to the point and often without ambiguity, but the narrative structure combined with the character development of the wandering drifter Clark Kent, discovering his true identity as Kal-El, and subsequent trial by fire at the hands of Michael Shannon’s exceptional performance as General Zod; the more I see it, the more I like it. The religious symbolism is perhaps heavy handed as he floats off into space in his Jesus Christ pose to save the Earth, but there’s depth beyond merely a superhero smashing a villain’s face in. Zod’s pitiful plea and loss of identity, or his “soul” as he claims, at a time where a triumphant Clark struts across a city blown to smithereens to victory-snog his girlfriend; its complexities are frequently lost in a tide of criticism because it just happens to take place during a mass of CGI destruction. I hesitate to make further comparisons between the two, but compared to some of Marvel’s third-act fight sequences (The Incredible Hulk, Age of Ultron and Thor: The Dark World to name but a few) which serve absolutely no narrative purpose other than “beat-the-baddie”, it just further increases my opinion that it is a vastly underrated movie.
Now, Batman v Superman, as you might expect, spends forever building towards a climactic fight sequence between (you guessed it) Batman and Superman. By contrast, yes it looks cool and yes Snyder’s fingerprints are all over it, but it is as shallow as a paddling pool during a hose-pipe ban. It merely gives the fans what they think they want and not what they deserve.
I’m not going to spoil who wins the fight for you! Needless to say, the victor was inevitable. And yes, the allegories to religion, domestic and international terrorism threats, and playing God, are all there. But they are in much broader strokes than seen previously.
As for the rest of the 2.5 hour run time, a huge proportion of it is a confusing, sprawling mess that I kept trying to pretend was still good, like a buttered piece of toast that had fallen on the kitchen floor. Alas, you could probably scrape it off and it’d still be edible, but why would you? There’s bound to still be a mystery hair or unrecognisable piece of grit to crunch sickeningly between your teeth. What I’m getting at with this confused, sprawling metaphor, is that you can dust off all the crap from Batman v Superman and see just the delicious slice of warm toast underneath, but as you chew, you will secretly feel a little ashamed and embarrassed.
There’s just one dream within a dream sequence too many for my tastes. There’re more Easter eggs littering this film, distracting from what should be an interesting concept of man vs God, than you will find in the Sainsbury’s Petrol Station reduced isle next week. Wonder Woman (Gal Gadot) is a passenger whose presence merely exists to pay fan-service for the Trinity and set up future Justice League movies so the other two can get on with battering each other.
I’m not going to sit here and say that the fault with Batman v Superman is that they didn’t follow the blueprint so successfully laid out by Marvel. I do not subscribe to that theory at all. The Marvel blueprint was laid out to make the audience more susceptible to expanded movie universes, that doesn’t mean DC, by not copying the exact format of individual introduction movies building to a crossover event, have failed. What will make Batman v Superman a relative failure is the cramming of about seven different story strands (that I counted) into one single film. It’s convoluted and each one (or maybe two or three together) would have been better served if held back for individual movies.
That, plus Jesse Eisenberg as Lex Luthor was either incredibly poor casting, or the right casting for the wrong film. His twitching peculiarities and eccentric ranting about his father only weaken what should make a menacing focal point for the story. He’s a raving lunatic with an unoriginal fiendish plot to, I don’t know, get in the way, or something. He shouldn’t have been in this film. Or, rather, it should have been Batman or Lex Luthor.
The rest of the supporting cast are as expected. Laurence Fishburne returns as Daily Planet head-honcho Perry White to probably the highest degree of competence out of the lot. Folks worried about Jeffrey Dean Morgan’s casting as Thomas Wayne, concerned it might mean yet another origin story, need not panic as his role is squished into a Watchmen-esque opening segment. Amy Adams as Lois Lane is not as integral to the plot as she should be, although her performance is slightly more assured this time around. Jeremy Irons as Alfred is just Jeremy Irons. No more, no less.
Batman v Superman is bloated, convoluted, full of inconsistencies and lacking in focus. As many suspected might be the case, Superman is reduced to merely a concept rather than a character as Batman takes centre stage.
But Affleck does do a great job carrying the burden of this movie. On more than one occasion, his skulking in the shadows alluded me for a few moments, which gave me a giddy thrill when I spotted him (mind you, it was nearly 2am by this point). Make no mistake, when you read articles online about the actors and creative people behind this movie claiming that it is not designed to win over critics, they’re not lying. This is a Superman movie designed for Batman fans.
Arguably self-sabotaging in typical DC fashion by trying to introduce Batman to what is perceived as a flagging franchise or series, it might simply be too much, too soon. Yet, I still kind of got a kick out of it on some base-levels and I’m sure plenty of others will see through its many foibles too.
If there’s one thing that gets Steve more excited than football related news, it’s football related film news. And we’re not referring to the revelation this week that Michael Owen hates all movies.
by Steve Norman (@StevePN86)
One of my favourite, and most under-rated comedies, Mike Bassett: England Manager, has a sequel. Personally I’m worried it will not live up to the original although a title of Mike Bassett: Interim Manager hints that it may still take a witty, satirical look at the beautiful game.
For £5k I could have a speaking part. So come on, put your money where your mouth is and get me on the big screen.
The Viewing Dead
Zombie series The Walking Dead broke all US cable records this weekend with the premier of its fifth season. 17.3 million tuned in to see Rick, Daryl and their group of survivors fight back against their captors at Terminus.
This beat the previous record of 16.1 million set by the shows fourth season premier. The show’s popularity was further enhanced due to the fact that over 12 million illegal downloads were made worldwide within the 24 hours after it aired.
The action packed opener will hopefully set the tone for a good series. Most previous seasons have featured strong beginnings and ends but have sagged in the middle. With the story taking slight deviations from the comic book we may see some fresh and interesting ideas and characters.
Where’s the News?
A lot of the time when researching this weekly article websites pass off new trailers or posters as news.
Is that actually news? Not in my book. It’s advertising.
Why Are Pirates Called Pirates? Because They Javi-ARRGHHH
Pirates Of The Caribbean: Dead Men Tells No Tales looks set to be the fifth POTC movie and is due for a 2017 release. Former Bond villain Javier Bardem has been linked with playing the protagonist to Johnny Depp’s Jack Sparrow.
Big news coming out of Marvel this week with the announcement that Robert Downey Jr. will play Iron Man in Captain America 3.
No plot details have been revealed as of yet but the poster/artwork released may suggests, and will no doubt fuel the Twitter rumours that Steve Rodger’s third solo movie will take the Civil War storyline from the comic books to the big screen.
In Civil War Iron Man and Cap go head to head along with many other superheroes, good and bad, and has far reaching implications for the Marvel Cinematic Universe, even more so than Cap 2.
Of course this could all be bluff and double bluff and the film is comprised of completely original material.
Outside of Marvel Michael Keaton has revealed that he would be up for playing Batman again. Hardly a huge revelation, I’m sure Adam West would be as well if you asked him.
DC have also said that Wonder Woman’s origins will be revealed in Batman vs Superman but rather than an Amazonian she will be the daughter of Zeus, according to producer Charles Roven anyway.
Quite why the origin of a popular and well established character needs to be changed is beyond me, and most people and it just gives another reason for people to doubt the movie.
Join us again next week, where we will return to give you another round up of the latest in film news.