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 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.

Today's Mini-Reviews: Man of Steel goes on a Night Train to Lisbon

Night Train to Lisbon: ****/*****, or 7/10

Adaptation of the original novel of the same name by Pascal Mercier, chronicling the life and times of a young Portuguese doctor named Amadeu de Prado during the years of the oppressive Salazar regime. His political and philosophical trials are recounted through his journals as read long after his death by a Swiss professor played by Jeremy Irons. A timid and dull man, Irons one day saves the life of a woman attempting to commit suicide, who walks out on his life as sudden as she entered it, leaving him the diary and a train ticket to the Portuguese capital. Impulsively leaving his life behind, the professor takes his chances and travels to Lisbon in order to explore this life so different from his own. The vast dissimilarities in life style and character of the boring old professor compared to the adventurous, politically engaged young doctor are rather overstated to carry the point across that freedom and personal convictions are wasted if one does not make ample use of them during one's life, as Irons does not but Amadeu did: though it led him to an early death, he did live a wild and challenging life as the professor soon realizes when he seeks out those that knew him personally. Now all in their old age, his remaining family and friends enlighten the old man as to who Amadeu really was and what he accomplished. Many a great character actor is encountered as the movie progresses through the various view points of Amadeu's inner circle, including Charlotte Rampling, Christopher Lee, Bruno Ganz and Tom Courtenay. Interestingly enough (and potentially insulting towards the people of Portugal), none of them are Portuguese and nor is Jack Huston who plays the young Amadeu. However, their contribution as highly capable actors to informing us about the harsh and dangerous life of political dissidents under the brutal rule of Salazar and his secret police makes for a compelling glimpse of past Portuguese history, which isn't a subject of movies as often as it deserves to be. The movie also serves as a not so subtle tourist brochure to present day Lisbon, with its beautiful sunlit cityscapes and its treasure trove of historical architecture, ancient churches and appetizing dinner establishments. And unlike in Amadeu's time, there's no sinister right wing agents out to arrest you for disagreeing with the current political powers-that-be. No wonder Irons' character eventually opts to stay to escape his own dreary, disillusioned life in Switzerland, which is only shown as grey and rainy during the course of the film.

Man of Steel: ****/*****, or 7/10.

Under the producing talents of Christopher Nolan, Superman undergoes the same treatment to make him grittier – or more 'with the times' – as his fellow DC veteran Batman underwent for Nolan's Dark Knight trilogy. Director Zack Snyder has shown to be rather talented in adapting the works of more ingenious men into big blockbuster movies, e.g. 300 and Watchmen. As a result, Man of Steel proves a slick, dark and modern look at the iconic comic book character, the most 'super' of all superheroes. Nevertheless, the movie still leaves something to be desired, as illustrated by the fact the film works best during its quiet moments of comtemplation as to how a near omnipotent alien life form walking amongst us humans would live and act. Raised by human foster parents after his biological ones got blown to smithereens along with his home planet of Krypton, Clark Kent/Kal-El (Henry Cavill beefed up considerably) has carefully learned not to show off his awesome powers, as they would make him an outcast, a mutant destined to be hated and feared by the society he means to protect (if some of these thematic ingredients sound familiar, it's because Hollywood has jumped on this bandwagon before in other superhero franchises). Moving from one false identity to another in search of inner peace, Clark soon finds the exact opposite when firstly a sexually attractive female raporter named Lois Lane (Amy Adams) and secondly some of his fellow Kryptonian survivors pay him a visit, the former in seach of the truth about this mystery man, the latter desperately after a weird skull shaped MacGuffin that would give Krypton a second chance, but only at the expense of humanity. Clark soon has no choice but to reveal himself to everybody and fight for his surrogate fellow species against his own kind led by the ruthless General Zod (Michael Shannon having a ball playing a rather bad man who can't stop shouting), who has a personal score to settle with the last remaining member of the -El family. What started as a thoughtful and intriguingly calm, impressionistic superhero movie exploring the nature of superhuman powers in an all too human world (similar to the likes of smaller budget films á la Chronicle) soon erupts into a huge, undoubtedly super-expensive visual effects extravaganza as a big battle between Earth's armed forces against the vastly superior extraterrestrial legion commences, with Clark caught in the middle, forced to finally accept his otherness from both parties and donning the traditional red and blue garb we all know (sort of, as there's no underpants in Nolan's world). This time his father Jor-El (Russell Crowe) was kind enough to save the knitting patterns for the suit in his son's spaceship computer banks, probably anticipating a hugely muscled guy in a super tight suit would be just what Earth required to convince its inhabitants of the practicality of a 'Super-man'. Unfortunately the film is released mostly in 3D, while the movie is shot largely through handheld means, rendering the majority of the battle sequences' 3D effects a failure, if not excruciating on the eyes. And sadly those battle scenes make up nearly all of the film's final hour. Overall, Man of Steel is a crystal clear attempt to rejuvenate the Superman franchise applying the Dark Knight's formula, driven by its uncanny ability to bring in the biggest bucks, crafted in an all too similar style that leaves the titular character devoid of his usual comic book feel and charm (not to mention sense of humour), maybe for the better too considering the alternate approach attempted in Superman Returns didn't work out so well. This tactic doesn't prove to be as appropriate for Supes as it was for the Caped Crusader, but works well enough, though definitely more so in the bold first half of the film that relies more on the subtle exploration of a lonely Superman's place in the contemporary world than it does on the overabundance of loud digital action that follows it. One thing is for sure: with this particularly dark brand of superheroes, the upcoming Justice League movie is gonna be pitch-black.