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 Double News: studio decisions regarding superheroes and a teddy bear

Another double bill of news today, because I didn't post one item yesterday for lack of time, again (insert shamefaced emoticon):

http://www.moviescene.nl/p/151830/ted_2_in_gevaar_vanwege_rechtenconflict

http://www.moviescene.nl/p/151866/mogelijke_titels_batman_vs_superman_gelekt

In both cases we get a fascinating glimpse of how a studio plans its strategy for much anticipated blockbuster movies it has high hopes for (and in both cases I daresay the audience does too, though in one case more deservedly so than in the other). So Universal doesn't own the rights to Ted 2, apparently. No surprise really if you look at the Ted credits (on IMDb for example) and see that 'Universal presents' it only, which strongly hints at this major merely distributing (and marketing) the film which by itself was produced by a smaller company. This sort of thing happens all the time in the studio system. Big studios these days are mostly engaged in distribution and promotion of other studios' films rather than paying for production themselves. Not to say that distribution and promotion doesn't carry a risk financially too, considering how much money is being spend in those two departments today. If a movie flops, everyone loses money. Ted certainly didn't flop though, not by a longshot! It was quite surprisingly a runaway hit, earning over ten times as much as it cost (or at least, as much as its production cost: who's to say how much money was involved creating audience awareness?). Ted 2 will likely fare about as well if not better. So even though a final deal has not yet been struck between Universal and MRC, I would venture a guess the current release date won't change at all and the production is not in any jeopardy, despite what my overly sensational headline seemed to indicate (hey, I need attention just like every other human being!). In fact, Universal may have been attempting to force the issue by stating a release date in advance, so MRC can't allow itelf to lose face by not living up to this deadline (kind of a mean tactic, but nothing studios haven't done before). And why wouldn't the smaller company want to live up to it, considering how much money Ted 2 is likely to earn it and Uni both? Like any Hollywood studio would ever say no to the prospect of more precious shiny money!

As for Supes and Bats, it was known Batman vs. Superman wasn't a definitive title, just a temporary one. A temporary one that caught on though, as both fans and movie websites across the globe have embraced it vigorously. Nevertheless, considering this film is a sequel to Man of Steel (which also serves as a new set-up for the Caped Crusader and a possible new sub-franchise of his own), it's logical studio Warner Bros. would want to take advantage of the new and popular Man of Steel brand name, as opposed to the maybe too classic Superman name, by emphasizing the connection between that film and this one via the title. Of course, this title must also allow for room for the Batman character (whatever his exact moniker this time around), but if you don't use the term 'Superman' (as Man of Steel tried so hard to avoid for over two hours), why would you use 'Batman'? So you come up with more subtle titles, like this cascade of concocted credits illustrates, after they'd been exposed by alleged "secret" domain name registering. Like there's any room for secrets on the Internet... I wouldn't be surprised if Warner allowed these names to leak on purpose just to continue fueling the movie's hype, a process which will not conclude right up till the actual release of the piece. I'm not particularly fond of any of these proposed titles, I must admit. There's just something catchy and iconic about the title of 'Batman vs. Superman'. It says it all, doesn't it? Or are we being deceived, and will this movie not feature the two of them battling it out at all? Is it possible there's more truth to these Justice League rumours that are flying around the web than we thought there was, and other tentpole DC characters, like Wonder Woman and Green Lantern, will also be of major importance? So many questions, but for now all of them are still being outstaged by the biggest one of them all: Batffleck, yay or nay?

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.

Today's Film: Dawn of the Dead (2004)

Dawn of the Dead

Rating: ****/*****, or 8/10

Few remakes ever surpass their predecessors, but this one gets remarkably close, if it's not a definite improvement over the already great original George A. Romero zombie classic from 1978. Zack Snyder, who would go on to direct 300, Watchmen and unfortunately Sucker Punch, first proved his talent for adapting – in this case re-adapting – other people's work with this gripping, gory and hugely entertaining horror flick. A zombie plague engulfs America after which a band of survivors barricades itself in a shopping mall for safety. Tensions run high in the group as its members continue to find themselves attacked by the living dead and eventually a choice must be made: do these people decide to stay in their safe haven where they got everything they need except their freedom, or do they take their chances storming out in an attempt to find out whether there's other people still alive out there in some remote and secure location, with the hopes of joining them. 

The story remains largely the same (except for the absence of a violent, marauding biker gang invading the mall), but the hungry undead are more lethal than ever, this time also adding speed to help satiate their lust for devouring human flesh, making them much easier to take seriously than Romero's slow, lumbering walking dead, thus only enhancing the suspense (and the body count). Fantastic make-up efects galore in this picture, providing a wide array of eerie zombies and disturbing scenes of dismemberment and bloodshed. Still, Snyder doesn't let the gore rule the film, but prefers to locate the horror in the story itself. Of particularly great shock effect is the film's fabulous opening, which starts off very restrained and seemingly normal with a nurse just going home after a hard day's work, going to bed at night and waking up the next morning finding her neighbourhood burning in utter chaos and despair as it has suddenly fallen prey to a zombie apocalypse. Though the movie treats us to many a memorable moment of naked, merciless terror later on, this gruesome opening stands out as its most horrifying scene. The TV show The Walking Dead – though itself based on a graphic novel – would later feature a very similar world of undead post-apocalyptics, clearly inspired by this remake and building on its premise of a ragtag group of survivors trapped in a hellish world ruled by hungry corpses.

Starring: Sarah Polley, Ving Rhames, Jake Weber

Directed by Zack Snyder

USA: Strike Entertainment, 2004