Today's Review: Batman V Superman: Dawn of Justice

It's been a while, but I finally wrote another review for FilmTotaal. And this time, for a particularly big blockbuster movie, my first for this movie site:

Batman v Superman: Dawn of Justice - recensie

FilmTotaal is the biggest movie website in the Netherlands (no, really!), and in its case, users actually respond to critics' reviews. Often not in the most gentle manner, as there's quite a few trolls and/or generally loudmouth, obnoxious people haunting the site. Reviewers posting their opinion of overhyped blockbuster films like this one usually know they can expect to be firmly hated upon. However, for BvS, I gotta say there's only a few posts illustrating strong disagreement - to put it mildly - with what I wrote about the film. In fact, it seems the majority of users agrees with me: BvS is rather a disappointment. Not entirely bad (it still looks great and there's some good performances and lovely action, you know), but definitely a letdown.

Maybe the cause of its shortcomings is its director, Zack Snyder. He's been known to favour heavy topics surrounding flawed, traumatized characters living in unpleasant worlds filled with violent death. Even though he usually flavours said realms with a visually appealing, grandiose style of filming and fabulous artistry and dressing. Man of Steel, the movie to kick off this new DC Cinematic Universe which is meant to deliver some heavy competition at Marvel's doorstep, fit that bill perfectly, making the generally colorful and optimistic Superman a brooding alien refugee given near omnipotent power over his new neighbours, the human race. I liked Man of Steel. It made this God like character that much more identifiable by focusing on his lacks rather than his strengths. In its many philosophical moments, Man of Steel felt less like a superhero movie and more like a character study of a God living among man and contemplating his relationship with those who in all respects are so obviously inferior to him. Of course, that relationship is still explored in BvS, as the world now needs to cope with the existence of this powerful presence, a potential saviour to man. However, another type of hero has already been active for decades, it turns out.

For in BvS, the DC universe is supposed to be up and running for decades already. No starting from scratch here, as was the case for Marvel. For every character introduced, there is a long backstory that is teased, which in many cases frustrates more than it intrigues. Ben Affleck's Batman has been fighting crime for twenty years, and it has only made him darker. Crime has not been reduced, while his war on bad guys preying on the everyman has cost him dearly. No wonder he's grown so angry he's not averse to maiming and even killing criminals left and right. The Batman we've grown accustomed to was never a true killer, but Snyder's Caped Crusader has no such moral qualms anymore. And now there's this all powerful extraterrestrial policing the planet. A being Batman holds responsible for the invasion that laid waste to Metropolis and cost him employees and real estate. Affleck does a fine job portraying the sombre, disillusioned vigilante, but it cannot be denied that his explicit aim of killing Superman, who has since amply demonstrated he's on the side of justice, just feels wholly unjustified.

Meanwhile, as if the lethal rivalry between both tormented good guys was't enough to fill a two hour movie, Snyder introduces a younger version of classic villain Lex Luthor to pester them both. This evil tycoon, too, is haunted by a trauma involving his father, which is not enough to fully explain his demonic machinations in this film. What's more, Jesse Eisenberg's performance in the role is devoid of the 'wow' factor we would have hoped for. Applying a typical neurotic hyperactivity, Eisenberg is basically playing a nefarious version of his own Mark Zuckerberg. It doesn't make for a convincing baddie. Nor does Gal Gadot's Wonder Woman leave a lasting impression, which is also due to a lack of screen time (though 151 minutes certainly makes for a long piece already). Again, a shady past is implied but not explored. And so she leaves us confused by her transformation from uncaring socialite to warrior princess fighting for good.

Of course, with a subtitle like 'Dawn of Justice', adding more spice to your duo of core characters for a broader context is expected. So we also get this evil genius and a strong female heroine. But wait, says BvS, there's much more yet. A number of other super heroes is teased. But for ow, we simply cannot care. Worse, the still fairly investing story line of the titular protagonists is hindered by awkward attempts to set up bigger things to come, including an Apocalyptic nightmare of Batman wherein he's plagued by visions of a ruined world ruled by Superman (including insect warriors, I kid you not). Succeeded by a scene in which that same Batman is confronted with a temporal vortex and a warning from the future to stop someone doing something, totally out of the blue. Pointless material, as we already knew Batman was out for Superman's blood and this doesn't motivate him any more. Despite all the useless interruptions provided by DC's self-advertisement for coming attractions (to which we simply are not attracted), it's amazing we still at least care about the two iconic superheroes battling each other.

And their fight proves quite spectacular. Brutal, despite a lack of blood (PG-13 rating and all). But oh so dark and serious. Even Nolan's Dark Knight films, also not particularly light, optimistic fare, never lost sight of the need for a bit of humour and witticism. But Snyder tells such a gritty tale, there's simply no space left for those elements. Unfortunately, after the epic Batman/Superman throwdown, he however feels there is space left for another half an hour of three good guys battling an ugly digital monster. But this climax never feels near as climactic as the fight we expected to see and at least felt somewhat gratifying. As is usual for his approach, Snyder goes over the top much further than we would like him to have gone. Maybe he's not fully to blame for BvS' many shortcomings, a fair bit of it can likely be chalked up to DC interference for setting up the future. But that future does involve Snyder to a great extent, as he's already working on Justice League. We better hope he takes the failures of BvS to heart and lightens up a bit. There's gotta be more to the DC universe than angry heroes beating each other up...

Today's News: movies, chappies and junkies

There's been some neat news these past few days, and I got a chance to post my fair share:

http://www.moviescene.nl/p/157896/nieuwe_trailer_voor_the_hobbit_the_battle_of_the_five_armies

A rather decent little trailer, says I. Seems Middle-Earth will go out with an appopriate bang, as did The Hobbit book to a lesser extent. Moderation surely isn't Peter Jackson's style, particularly if he knows he's not likely to show off like this again. Might as well go all-out one last time. Tolkien purists surely gave up on him right after An Unexpected Journey anyway. This precious trailer looks breathtaking and makes me water my mouth accordingly. However, I'm not the one who needs to be convinced to go see this movie, as I've been planning to do so for a few years now. I guess this trailer doesn't really need to be enticing anyway, as people who want to see the movie will see it anyway and people who don't, won't be pulled in any more by this preview, even if it does look awesome. This trailer definitely is for the fans, who live in the greatest of anticipation for one more month before the cinematic age of Middle-Earth comes crashing down. Unless they do find a way to decently adapt The Silmarillion for the big screen after all.

http://www.moviescene.nl/p/157867/eerste_trailer_minions

Then there's this trailer. There's a multitude of evil minions in Tolkien's stories, but none are as cute as these. You don't see Orcs getting a movie of their own. (Well, you do, but that's not what I mean.) But it's clear people enjoyed the shenanigans of Gru's little aides more than they did Gru's own sinister schemes, so a spin-off was required by the laws of Hollywood. It's still unclear whether Steve Carell's Gru is in the movie, as some sites claim he is while others deny as much. I think it likely this will serve as an origin story, showing how Gru and the Minions hooked up. Do we need to know that? Not really. I guess people just really like the Minions so much they want to see more of them than their creators originally intended. They're kinda like the Smurfs in that regard: they're small and there's many of them with various personalities, they have their own language, they're monochromatic, etc. If they're indeed a runaway success, will that mean we'll forget about Gru the same way the majority of the Smurfs reader are not aware of Johan and Pirrewiet? That would be a shame, as I think the Minions work best playing off Gru, who himself is an equally delightful character (the voice and nose alone crack me up). It's up to this Minions movie to determine whether the Minions have a staying power of their on, or whether we prefer Gru to be present as well.

http://www.moviescene.nl/p/157866/junkie_xl_werkt_mee_aan_soundtrack_batman_v_superman

As a fellow Dutchman it's of course expected of me to feel a sense of pride at Junkie XL's accomplishments. Well sure: good job, Mr. XL! Other than that this news doesn't evoke much emotional feelings in me other than gladness we'll be getting a good score for Batman v Superman: Dawn of Justice (now if only we also got a good title...). Hans Zimmer's status as one of the world's leading movie soundtrack composers has long since been established. His tunes can be heard during my workouts on many an occasion (Gladiator is a particular favourite of mine). Junkie XL is just a bonus. His track record of Hollywood scores is still on the short side, but so far he has done well. I liked his score for 300: Rise of an Empire more than the one from its predecessor. Divergent's soundtrack is not nearly as memorable - can't remember a single accord of it for the life of me, to be honest - but at least it didn't leave as sour a taste as the rest of that film did. I like the notion of two composers sharing duties between superheroes' separate scores. It makes sense someone else trackles Batman for this film, as Zimmer already scored that character for the entire Dark Knight trilogy. Since this is a different Batman, a different theme is in order and so a different composer is a logical conclusion. Since we are talking about the same Superman as the one from Man of Steel however, it's only apt that Zimmer keeps scoring him. Big question now is: who's gonna score the inevitable combined superhero/Justice League theme? Zimmer, XL or somebody else entirely?

http://www.moviescene.nl/p/157879/eerste_trailer_chappie

Neill Blomkamp continues to dabble in socially pertinent science fiction flicks. It worked out great in District 9, a little less so with Elysium, but there's still more contemporary injustice to be commented upon. From the looks of the trailer, Chappie seems to deal with a 'nature versus nurture' debate: does an artificial intelligence become a criminal because he was "raised" in such an environment, or were there signs of bad behaviour in his personality from the get-go? Does he acknowledge good from evil to begin with, or are such notions beyond his understanding because of the limits in his programming? Is a life of crime considered a logical and reasonable existence under the situations according to the codes written within him? It'll be interesting to see what Blomkamp has to say on the matter, since things are never so black and white in his work. The gritty, down-to-earth look of his Sci-Fi remains catchy, especially in a story closer to home than one dealing with space stations and exoskeletons. This film definitely is worth keeping an eye on. It'll be fascinating to see a robot attempting a robbery for financial gain, rather than a bunch of them trying to take over the world for a change.

http://www.moviescene.nl/p/157895/titel_star_wars_episode_vii_onthuld

Meh... Damn silly title. I can understand it's not an Episode proper, considering the new studio, the new director and the new direction the franchise takes (but despite the very old cast members returning). But I still find Star Wars Episode VII to be a catchier title than Star Wars: The Force Awakens. The latter kinda sounds like a video game, a bastard child of Star Wars: The Force Unleashed or something. And is this title suggesting the actual Force was asleep during all the previous movies? Yeah, right! I guess J.J. Abrams is the 'Force' in question and he has awoken to make something new and exciting of the franchise (or so he thinks), rather than the dull generic crap he pushed on us with his dreadful Star Trek reboots, during which he was obviously too much asleep to give a crap. And please tell me that isn't the official logo for the movie. It looks like a cheap fan creation. Not that there aren't any fans who could have come up with better titles, of course. How about Star Wars Episode VII: The Empire Takes Over the Franchise?

Today's News: loads of it

The haul of news from the last week:

http://www.moviescene.nl/p/157156/nieuwe_trailer_oorlogsfilm_fury_met_brad_pitt

Last trailer focused on the action, this one's more about the drama. Can't say it looks any better when given more substance. Rookie soldiers faced with the moral burdens of battle has been done since time immemorial. Same goes for small bands of soldiers stuck behind enemy lines on suicide missions (Saving Private Ryan is just the tip of the iceberg there, you know). Heck, even Brad Pitt has dabbled in that before with Inglourious Basterds. Big change here is that particular persona of his didn't seem to mind his hard times as much as this one, even though in terms of character there don't seem to be that many differences between Wardaddy and Lt. Aldo Raine. I really hope there's more to the movie that what the trailers are showing us. Though if we're comparing notes, that certainly was the case with Inglourious Basterds, which turned out to incorporate a whole lot more to the plot than just the bloody retributions exacted on Nazis we were promised (though that element surely was also retained, to a lesser extent). On the other thand, there's the example to the opposite, in which the trailer promised more than the actual film delivered, like on the recent forgetabble The Monuments Men. Let's just say this tank can still roll either way.

http://www.moviescene.nl/p/157184/23_jump_street_aangekondigd

As the end credits for 22 Jump Street revealed, there's at least twenty more scenarios for the franchise's protagonists to get involved in. Of course the studio feels like trying out at least one more considering the success of that sequel. Will it be one of the outrageous possibilities offered by those end titles? Probably not, most of them seem a little too farfetched for any "serious" comedy flick. Doesn't mean there aren't enough possibilities for infiltrations taking zany turns left. Not that I need to see them. I have learned long ago that the number of sequels to successful comedies worth our while is pretty low indeed. Blatant regurgitation is their usual motto, a point the first film, 21 Jump Street (see the numerical pattern here?), already made both hilariously and painfully clear when the angry black police captain gave his poignant and speech about law enforcement officials just recycling old ideas ad nauseam, which was the movie at its most self-aware note. And here we have the prove studio execs do the same. Like we needed any proof...

http://www.moviescene.nl/p/157183/eerste_fotos_batmobile_uit_batman_v_superman

I approve of this Batmobile. Not too realistic, not too unrealistic. Not too tacky, not too slick. Fits right into Zack Snyder's new DC-verse, while containing many a nod to past works, most notable Nolan's Tumbler design from the Dark Knight movies. The bat motif is not too obvious or overt, but definitely there. This basically is exactly the badass type of vehicle an angry billionaire would patrol the streets at night with to punish the guilty and protect the innocent, rather than doing drugs, banging scores of prostitutes and not giving a damn about the rest of the world because he is loaded, like real world billionaires prefer to do instead. Of course, we have yet to see it in action and discover its various funky gadgets - does it, too, feature a built-in escape vehicle and a self-destruct option, for example? - but in terms of looks and style this is right up Gotham's alleys. Good thing Hans Zimmer is still doing the music for the epic DC movies. Just add his stormy, percussive Dark Knight theme and this car is good to go.

http://www.moviescene.nl/p/157209/eerste_trailer_serena

Why change a winning team, the casting director of Serena must have thought? Cooper & Lawrence together have been the stuff of Oscars so far, and this movie clearly shows Academy Award aspirations, if the trailer is any indication. However, this movie is not directed by David O'Russell. Guess we'll find out whether it was the director that got the best out of his actors on Silver Linings Playbook and American Hustle both, or whether it may have been the material after all. Susanne Bier certainly isn't a stranger in terms of character, since her movies often border on character studies, which equally seems to be the case on Serena. The language barrier doesn't seem to be present, as this is hardly her first English spoken film. This trailer definitely reaffirms the third time remains the charm.

http://www.moviescene.nl/p/157208/robert_downey_jr_mogelijk_in_assassins_creed

I'm starting to get a sort of 'Johnny Depp vibe' whenever Robert Downey Jr.'s latest project is mentioned. As Depp revels in playing quirky oddball types, Downey Jr. now seems to stick predominantly to playing witty, scienctifically considerate charmers (e.g. Sherlock Holmes and Tony Stark/Iron Man) when it comes to big budget Hollywood movies. He does that well, so the part of Leonardo da Vinci seems perfectly suited to him. However, as has been the case with Depp for quite a while, it's getting a routine, which may lead to typecasting (though I bet Downey Jr.'s hefty pay grade will halt such thoughts on studio execs' minds). Of course, there's many other types of characters Downey Jr. plays in smaller films in-between blockbusters (the Oscar buzzing The Judge would be a current example), but those are not the ones most audiences will get to see so they'll learn to appreciate the diversity inherent in his talent. Considering he's now the highest paid actor in Hollywood, it is interesting to see him accepting a sidekick part for a change. Unless Da Vinci is actually the assassin, which I have a hard time believing, though there is some logic to that notion. But then, I never played the games so what do I know? Don't have time for games, too busy watching and loving movies. Like those starring Downey Jr., for example.

Today's Triple News: Dawn of Superman's Odyssey

News! News! We got news here!:

http://www.moviescene.nl/p/156430/eerste_foto_superman_in_batman_v_superman

We already got a small tease of Ben Affleck's Batman (with Batmobile!) for DC's upcoming superhero extravaganza, now it's the Man of Steel's turn. Good timing, as fanboys were about done nitpicking over every conceivable little detail of that one released picture, so now they can drool over another one for a month or so. There's little to go on here though, as the only really bit of news it contains is that Superman (Henry Cavill again) will visit Gotham City. A likely event, considering the title Batman v Superman (Dawn of Justice, etc.). Of course, you can argue that Batman might have traveled to Metropolis (which he still may), but Superman is the once who's faster than a speeding bullet which allows him to travel the globe in the blink of an eye so it's easier (and proably less strainful on the budget) for him to do so. Otherwise, not that much of note here. The Superman costume has scarcely changed from the previous movie. Gotham looks a bit bleaker and more Gothic in appearance than it did in Nolan's Dark Knight trilogy, but that was to be expected, as this movie would turn more to the pages of the comics in an attempt to set itself apart stylistically from those exquisite films, as well as from the sunnier, brighter city of Metropolis with which it will share the screen. The big question this picture hints at first and foremost is one of a story nature: what is Superman doing in Gotham? Once again turning to the title (as there's little else to go on at present), the most in you-face answer is he'll be getting into fisticuffs with Batman. Next question then is, why will they fight? And that leads to more questions, and so on and so on. Which ensures fans will have plenty of material to debate until the next photo is released. Good thing too, as they still need to wait two more years for the definitive answers.

http://www.moviescene.nl/p/156416/stalingrad_regisseur_maakt_odyssee

Interesting director's choice in this politically tense day and age. Art adheres not to the borders of man, especially when loads of money are involved. Will it be good art though (if there even is such a thing)? Bondarchuk's epic love story Stalingrad met with rather mixed reviews, though its accoloades include highest grossing film in Russia and first non-American film shot in IMAX 3D, thanks to its impressive visual effects which thoroughly suit that format. So, strong box office results for prior work, innovative international use of technology and experience with big budget spectacle, coupled with a chance to win favours with the Russian industry, all come with Bondarchuk, which are enough reasons to sway studio executives to hire him. In terms of story, the Odyssey has proven itself to hold up for several milennia, so it can survive this latest attempt no doubt. As for the execution, the visual side seems secure as far as the budget allows. As for the character side, therein lies the greatest challenge. I would suggest casting a solid, capable actor in the title role (as the movie is called Odysseus), and his name is Sean Bean. His take on Odysseus was one of Troy's redeeming features and I would love to see some more of that. Then again, it might not be such a good idea for Bondarchuk to suggest his film is a sequel to Troy, which it's not intended to be. Even though I get the feeling that final product was right up his alley in terms of directorial execution, as it was maligned for much the same reasons Stalingrad was (except for the absence of Orlando Bloom's poor acting skills).

http://www.moviescene.nl/p/156428/trio_korte_films_slaat_brug_tussen_apes_films

I was already stoked for Dawn of the PotA (first few reviews are fortunately showered in praise!), so these three short films (collectively titled Before the Dawn) miss their mark in convincing me to go see a film I was already convinced to go see. Considering they are rather short on apes - silhouettes and sound effects is all we get - I don't think anybody watching them that didn't know another PotA film was coming feels the sudden urge to get in line for admission tickets. Their primary purpose seems to assure confused folks that missed the connection between both films have something to fall back on to enlighten them as what caused the abrupt and expansive change in status quo for both apes and humans. However, as is the case with any good viral marketing, this backstory can be missed when considering the movies proper. The information provided here serves as a decent background that does not need to be seen specifically to enjoy the motion picture experience. Nevertheless, they do add a little bit of sense and character to the rebooted Apes universe as a whole, even though the quality of these three films varies. The idea of staging the demise of human society over different time periods since the outbreak of the devastating simian flu plague is infective (obvious pun there, sorry). The first film is easily the weakest, just a quick piece intended to be emotionally charged but ending up rather dull. The second one spices things up considerably by comparison, showing just how seriously everyday life has changed in a brief timespan, while also introducing a new threat to the survivors that was absent from the first short but is of course what we'll all go and pay to see with most anticipation (apes, I mean). The third film, which is longer than the other two combined and therefore might be accused of having an unfair advantage to hook us in the most, is the most chilling, disturbing and dramatic of the trio. Which is a mean feat, considering it deals with an object more than it does with people, be they human or primates. It's a very imaginative and subtle yet effective way to show how much one side has deteriorated while another has risen, with both sides ending up in an existential state of balance. I doubt any of the characters introduced here, human or artificial, will end up playing a substantial role - more than a cameo, that is - in the upcoming theatrical movie proper, but they don't need to. Before the Dawn is just a neat and helpful bit of background story but if you don't know it's out there, it's not likely to diminish your viewing experiece of the movie it serves.