We have already been bold enough to say Aquaman is not only going to be good, but the reason DC Comics and Warner Bros. make a righteous comeback. And it’s all on the sturdy shoulders of horror ingenue James Wan.
Under his direction, DC is regaining trust in moviegoers again. Under his supervision, nothing leaks before its time (and it’s awesome). Under his expert eye, WB may regain its losses from that other movie and still make budget on Aquaman.
And under his wishes, this movie is reportedly 143 minutes long of foreshadowing. What’s that mean? Rewatch this glorious five minutes of euphoria and we’ll explain…
Anyone else need a cigarette? Just me?
Recall the scene where it looks like the ocean is trying to eat Arthur Curry as he makes his getaway in a pickup truck? And then another where it looks like the same tidal wave is standing at attention behind him?
That is connected to the latest movie image released to EW and subsequent interview with James Wan.
What does it all mean?
“The context of that photo is basically the Atlantic coastline is being hit by tidal waves and it’s not actually an attack from Atlantis but a warning sign of what’s to come,” he says. “It’s basically a message from King Orm [Patrick Wilson] and he’s throwing our warships and waste back onto the land.”
You know how most trailers give the movie away; ergo, forcing you to waste your money and popcorn? Not the case with Aquaman.
“The trailer and images don’t really do it justice,” Wan says. “The crazy part is there’s so much movie, what’s out there has barely scratched the surface.”
And why would he say that? Maybe because (if you remove the five minutes and change) there’s 137 minutes to go with this film we haven’t seen yet! We know that, thanks to some mate named George, whose sleuth skills found this…
if this is legit then Aquaman’s running time is 143 minutes. pic.twitter.com/1xA5qnd9bY
— -/George\- (@kryptonscodex) November 8, 2018
There it is! A distribution list to theaters and media reading 143 minutes of underwater ballyhoo. Even that rooftop scene is twice as long, with context! Wow.
(Oh, and don’t think we didn’t see that Zack Snyder producer credit in there, but I guess we can talk about that later.)
The nerdverse is swooning for what could be coming from James Wan’s vision of Atlantis. The thought of Aquaman being as great as it seems does several things for aficionados of the geeky, not to mention the potential salvation of a doomed multiverse.
Another thing is the rise of a shooting star, Jason Momoa.
For a while, he was a B-list guy with untapped potential. His first tiptoe into the pool of the dork was Stargate: Atlantis. He was the mercurial Ronon Dex. Yeah, I didn’t see much either. There was a reboot of Conan the Barbarian, and while Momoa looks swole, he ain’t Arnold.
However, it was a good thing that happened because that failed movie led to the catapult into the ether as Khal Drogo in HBO’s juggernaut Game of Thrones. For 10 episodes, Momoa introduced us all to what he could be.
“If this is a dream, I will the man who tries to wake me.”
While that was cheeky and a skosh romantic response to cuddle with a dragon chick, there’s no doubt he could have killed anyone. Maybe even the cameraman. Stuff like that opened the door for him to be groomed as Arthur Curry. Yet, while we have all been celebrating what’s to come in December, there’s another show you should be watching.
Frontier on Netflix, preparing for its third season on November 23.
For two haram-scarum seasons, Momoa has played Declan Harp, a brooding badass fur-trader in the mid-1700s, head of the Black Wolf Company — the vaunted enemy of the British Hudson Bay company.
His forceful near omnipresence in this show commands the screen. Even when Declan isn’t on scene, he’s considered or mentioned. And because he’s part Irish, part Cree (Native American), the British and tribes hate him but respect him equally.
What’s cool is this all starts on reputation. Harp is a man set on vengeance, searching for the people who killed his family and then the fur trade gets in the way. So, he gets in its way, and the rest is good times for a good 12 hours sitting on your own throne rummaging through a bag of Cheetos.
The storylines are dramatic. The action is brutal. The plots are continual. And the show is a bingeworthy journey in what life was probably like in a world you’ve only read about in books.
If you have nothing else to do other than eat Turkey and fight a tryptophan coma, find Netflix and bookmark this show to your list. Season Three will be great and another reminder of why we wait with baited breath for December.
Deadpool had the jokes about the brooding nature of DC Comics — a serious tone, heroes with angst, limited areas of comic relief, and all that violence. More than just a big body of nerds were shocked when Superman snapped General Zod’s neck like a old, withered twig in Man of Steel.
So when the American Academy of Pediatrics National Conference and Exhibition featured a new clinical research study today’s superhero is more violent than today’s super villain that same gaggle of geeks were probably not too surprised.
“Children and adolescents see the superheroes as ‘good guys,’ and may be influenced by their portrayal of risk-taking behaviors and acts of violence,” said the study’s lead author, Robert Olympia, M.D., a professor in the Departments of Emergency Medicine and Pediatrics at Penn State College of Medicine and an attending physician at the Milton S. Hershey Medical Center/Penn State Children’s Hospital.
Let the numbers speak for themselves:
According to the study’s findings, the most common act of violence associated with protagonists (“the good guy”) in the films were the following:
Let that sink in: Many comic-book loving kids are what? Bullied and that is on the good guy list.
For antagonists (“the bad guy”), violence was portrayed on screen with:
The one runaway metric was superheroes average 23 violent acts per hour while their enemies have a softer approach with just 18 violent acts per hour. Our Avengers or Justice Leaguers have a worse mean streak than the malevolent foes they protect us against.
There may also be a conflict with our twisted celebration of the anti-hero — Deadpool, Wolverine, Venom. These are not the Keystone Cops of the Justice League in the Wonder Twins.
We celebrate them because they do to the protagonists we wish we could do on a nearly daily basis. And, they do it while maintaining a stellar public relations record. Of course, it’s nice to be in a feature film positioned against the forces of evil and have no reservations about a “kill or be killed” attitude but are our heroes really too violent or just returning fire with fire?
Instead of turning the other cheek as a holy man and son of a King once shared, these heroes teach our kids to smack the hell out of both cheeks — and usually, with a weapon of some sort.
Hey, at least the women of our CBMs maintain their feminine prowess. According to the study, male characters appear in “nearly five times as many violent acts (34 per hour, on average), than female characters, who were engaged in an average of 7 violent acts per hour.”
“Pediatric health care providers should educate families about the violence depicted in this genre of film and the potential dangers that may occur when children attempt to emulate these perceived heroes,” [Dr. Olympia] said.
I guess here’s to hoping Wonder Woman and Captain Marvel fighting evil with a stern talking-to. Because that’s what sells comic book movie tickets.
Ever since Disney determined The Jungle Book needed to be done in “real-life” style, the home of the mouse has been recycling its classics for what would be good for
profits… eh, families.
Beauty and the Beast was acclaimed and did not disappoint. Next year, we will see The Lion King, which looks like it will equal the animated version of greatness. The verdict is still out on Aladdin thanks to an underwhelming trailer. But first, we find ourselves looking at The Nutcracker and the Four Realms.
It was bad enough this movie was made a real version, but to jack with it (and make sure the homeless Samuel L. Jackson finally gets some work) was a skosh overboard. It was hitting theaters with the highly anticipated (suck it, critics) Bohemian Rhapsody, but this is Disney. Surely, it will impress.
Yeah, not so much.
While Bohemian Rhapsody is outperforming all the haters at $50M for a nice opening weekend, the Nutcracker just got kicked in its nuts with a paltry $20M opening. And when you consider that’s a $130M budget, this is not one of Disney’s best gambles.
In fact, if you look at introspective articles like this one in ‘The Wrap,’ it’s already being considered one of Hollywood’s loudest flops. Like, up there with Ishtar, Gigli, The Adventures of Pluto Nash, and another Disney banner Treasure Planet.
“Obviously, while we try to put all our films in the best position to succeed, some might not connect as much as we hope,” said Disney domestic distribution head Cathleen Taff.
This will certainly mark the tote boards at Disney, as this was the biggest fart-and-fall-down moment in more than two years with the $18M opening of The BFG. Well, that and if you want to consider Solo, the worst-performing movie in the history of the franchise with only $392M globally.
So, what’s a studio to do?
Yes, they own Lucasfilm and Marvel so cash cows will continue mooing. They’ll be fine, but Disney may want to think about the movies they choose to altar. Not all movies need a reboot, a sequel, or a live-action version. Sometimes, believe it or not, certain films are better left untouched.
Just ask the girl-power Ghostbusters, Psycho from 1998, Robocop in 2014, and maybe Rob Zombie’s Halloween. You get the point.
Alright. Um, show of hands… who is the turd that asked for this?
It’s bad enough Warner Bros. thought cinephiles were just wandering dark alleys everywhere looking for a reboot of the great Gene Wilder classic. Johnny Depp couldn’t hold Wilder’s candy-coated jock in terms of portraying the confection conductor.
We all knew it. We all saw it. And most of us couldn’t stand it. No one at WB got that memo so the rumor mill started spinning at the chocolate factory again that another Wonka production may be in the mix.
They got a little smarts at WB. Wilder could never be replaced or rebooted, so why not a rewind? If you were one of folks who saw Paddington, you may be familiar with its director Paul King. As recent as this past February, stories came out that either Ryan Gosling, Ezra “Flash” Miller, or Donald “Lando” Glover could be a younger Wonka, in terms of an origin film under King’s direction.
There was never any comment about what, if anything, was happening. Until now.
Adam Chitwood of Collider fame got the exclusive, there is indeed a prequel coming to screens in 20-something.
And, for those interested, he confirmed “Simon Rich (Man Seeking Woman) was writing the script and David Heyman (Harry Potter and Fantastic Beasts franchises) was producing.”
The books were great, although no one has really attempted the Wonka sequel, Charlie and the Great Glass Elevator. Yet, Hollywood in its eternal abyss of retread ideas and recycled thoughts, believes this movie — and that guy — needs a origin story, so says Heyman to Collider’s Steve Weintraub.
“We are still trying to figure out how to tell that story, what the story is. It’s a prequel, it’s not a sequel. What makes Willy—when we find him at the chocolate factory doing the golden ticket, where is he before that? What leads him to that place where he’s locked himself away?… It’s how does he get there? So we’re playing around with that.”
It’s almost like they need to “play around” with the idea because they don’t have a sandbox of their own, so why not pee in someone else’s pool? It’s only the shallow end. The stain only gets on your feet.
Play around?! This is Gene Wilder’s Willy Wonka we’re talking here. To use his sage, irascible wit:
If the good Lord intended for us to walk, he never would’ve invented roller skates.
It seems Hollywood executives and soothsayers alike are glad for those roller skates so they can just whiz by thought-provoking and original ideas that take time to curate and heel-stop on the ones already done so they can microwave an easy-bake version of something for a quick check and some cinema mediocrity.
You know? Just playing around.
When you think of “nerds,” most people usually go toward to the superhero section in the library but there is also that outer space area too. Think of the biggest nerds known to man — Einstein, Hawking, Tyson.
What do they all have in common? The final frontier. So, it only makes sense that NASA honors nerds with a constellation for location and admiration into perpetuity.
To celebrate the Gamma-ray scope, NASA has named 21 new gamma-ray constellations and some big nerds in NASA (of all places) got a little inventive with the nomenclature.
You’ll see Tardis of Doctor Who fame. Mjolnir of Asgardian carpentry fame. Enterprise of the aforementioned Final Frontier fame. Godzilla of nuclear lizard fame. And there’s even a constellation so big, NASA named it Hulk. Look…
Yes, the outline is photoshopped by NASA, but that’s intentional — an arrangement of stars named after the big green dude and Bruce Banner.
“Comic book fans all know the backstory of Hulk, the big, green, angry alter ego of Dr. Bruce Banner, whose experiments with gamma rays went terribly wrong. Gamma rays are the strongest form of light,” explained NASA. “They pack enough punch to convert into matter under the right circumstances, a transformation both Banner and the Hulk would certainly appreciate.”
Not one for steering away from a fun conversation, Mark Ruffalo decided to get in the stratospheric conversation and his reply was ingenious.
A star is born ⭐️ https://t.co/ZjRhiMbVN4
— Mark Ruffalo (@MarkRuffalo) October 25, 2018
That is precisely how we like our nerd humor — just stellar.
It’s election season, which usually brings out the stupid in hired events directors. After every rally, a candidate ends with the obligatory “God Bless America” and begins shaking hands and kissing babies to some song that evokes a little nationalism or rally cry.
Now, social media directors are getting in the act, and they appear to be equally as unaware that all those pesky trademark and copyright infringement laws apply to their candidate as well.
Many times, said director is about as tone deaf as Helen Keller and believes his or her candidate du jour could use any song or image out there, but vocalists, bands, production companies, and artists are a bit wary of where their content is applied.
Most recently, Donald Trump was discussing the reinstated sanctions he is placing again on Iran geared to prevent the totalitarian country from investigating the possibility of creating nuclear weapons.
Are we not fans of terrorists? Not one bit. But… many people are fans of Trump either. Speaking of tone deaf…
— Donald J. Trump (@realDonaldTrump) November 2, 2018
Yeah, about that. Just because you’re the president and possibly (but very unlikely) a fan of Game of Thrones, doesn’t entitle you to create some cheeky graphic with a very recognizable moniker.
To wit, HBO had this to subtweet in Trump’s direction:
How do you say trademark misuse in Dothraki?
— HBO (@HBO) November 2, 2018
Yeah, hurts to miss that one, POTUS. Maybe that’s why most presidents have legal counsel chime in from time-to-time on things.
The creator of GoT even got the jokes and subtweets, but his had a different point. Mid-terms!
— George RR Martin (@GRRMspeaking) November 2, 2018
As of now, Trump’s “borrowed” tweet is still live and no response has come from Sarah Sanders’ lips. Probably won’t unless a nerd works in the communications office who speaks Dothraki.
Should that happen, it turns out the unavailable permission swung all the way over to the democratic coalition, which had this to say from its president:
— Jon Cooper 🌊 (@joncoopertweets) November 2, 2018
Yeah, so that happened. Maybe a House of Cards reference will be next week. That should be fun.
Yeah, there are all these sardonic symbols that are closely affiliated with the Church of Satan. Not some esoteric quorum of people who dress in black, wear emo eye liner, and listen to guttural mumbling so loud eardrums have been known to explode.
This is an actual 501(c)(3) non-profit organization based in San Francisco founded in 1966 by some bald-headed troll named Anton Szandor LaVey.
(See that fun star dumped on its head there? That is called the Sigil of Baphomet — it, being the goat-man in the “pentagram.” And now, all you Thrasher-wearing goths know for your ‘Jeopardy’ night.)
There have been many iterations of this construct, including government recognized covens and spawns of LaVeyian freethought. One of the largest and most official in the country is called (original name alert) The Satanic Temple, which was founded by Lucien Greaves.
Heaven forbid for a hellbound gaggle of folks not to Netflix and chill from time-to-time. And so it seems, Greaves decided to binge before “[satanic] bible study” one night and saw something that really perturbed the malevolent proselytizer.
So much that he decided to sue the streaming content juggernaut for copyright infringement, according to SFGate.com.
Netflix adapted the 2014 Archie Comics series for what appears as the most stereotypical, millennial-riddled-with-hate-gone-helter-skelter-to-spite-mom-and-dad TV show in recent years. And while director Roberto Aguirre-Sacasa reaches for every possible symbol seen on a t-shirt found in Hot Topic, it seems his research took him too far.
That statue in the hero image above features a statue of Baphomet, the aforementioned deity the Knights Templar were falsely accused of worshipping, which brought it to infamous status throughout the occult. That evil caste of plaster is actually protected as intellectual property of Greaves’ Satanic Temple. Ergo, the law suit.
Yes, we are taking legal action regarding #TheChillingAdventuresofSabrina appropriating our copyrighted monument design to promote their asinine Satanic Panic fiction.
— Lucien Greaves (@LucienGreaves) October 29, 2018
So, there’s that. Never mind Greaves’ impressive 11,000 acolytes on Twitter, but Netflix has a paltry 5.3 million followers and its meager 117.6 million subscribers. Sure, that’s nothing compared to the dust Greaves can muster but has the thought never occurred to him of something called “free publicity?!”
For purposes of comparison… pic.twitter.com/AZJvmq1Cks
— Lucien Greaves (@LucienGreaves) October 30, 2018
Yeah, apparently not.
“It’s deeply problematic to us,” Greaves, who said he’s seen parts of the show, told SFGATE. “(But) even if that wasn’t the case we’d be obligated to make a copyright claim because that’s how copyright works.” Greaves also noted that if the group didn’t make the copyright claim now, it would have a weakened ability to do so in the future. In this instance, he said, “we would have had to send some message.”
So, why the ballyhoo over some paper mache faceted after goat-man? As SFGate.com labels it, “it’s a Satanic Panic.” (Damn, I wish I coined that phrase. Hot Topic would be calling fast.)
“I feel that the use of our particular image that is recognized as our own central icon (being) displayed fictionally as central to some cannibalistic cult has real world damaging effects for us,” he said.
Not so much on the copyright issue as this has become reputation management. While Netflix hasn’t provided a comment yet, you can rest assured one thing — the only thing producers are convinced Greaves’ coterie of “cannibals” eat is raw meat.
And given the money they are doling out for this law suit, you can expect that meat to be more sashimi. Very cosmopolitan now that they’re TV stars. Kinda.
Say it with me, nerds (or hear it loud and clear)…
Savior of the Universe!
Take a Hans Zimmer score. They average 96% on the #MatrixMeter. But when you think of sci-fi soundtracks — music with songs, words, themes — there are none that hearken memories of running around in your underwear shooting up fake aliens (that may or may not look like your little sister) as you go ‘Dukes of Hazzard’ style over the couch than Flash Gordon.
Queen is easily one of the most prolific bands in Rock & Roll history. And we will have a review of Bohemian Rhapsody, an A-List of music biopics, and something else coming as a result of Freddie Mercury’s shadow. That notwithstanding, we have an excuse to talk about Mr. Bulsara because of today’s news.
The intriguing Nazi horror flick, J.J. Abrams flick Overlord is ready to hit the big screen November 9. And at the helm of the “Call of Duty: WWII” zombie story-mode movie is Julius Avery, who is making a headline of his own.
The movie, if you haven’t invested the precious time in your life to see it, was the bomb…wrapped up in some of the most ham-handed visual effects and laughable dramedy acting to hit the screens in quite some time.
But, it had money, an all-star cast (i.e., Max Von Sydow, Topol, Timothy Dalton, Melody Anderson, Sam J. Jones), the legacy of a ’50s TV show and ’40s comic, and oh yeah… QUEEN!
It was destined for such greatness. Then, it came out and floundered at the box office earning $8 million under budget. To date, Metacritic gives it a 58, IMDB says it’s a 65, and Rotten Tomatoes skyrocketed to a meh 82. Yet, this movie makes a nerd’s heart beat and a sci-fi geek’s pulse race. And, did I already mention that soundtrack?!
Evidently, Avery knows all this stuff and is stoked about remaking this paradigmatic space race to the dork beyond. As Deadline quotes:
[Avery] grew up in Australia loving the Flash Gordon comic. He pitched his take and the studio sparked to it and set him.
There’s an obvious aura about this concept based on the 1934 comic of a charmed college athlete turned outer space pulp action hero who screams into space with Dr. Zarkov to save the world from the diabolical Ming the Merciless on the planet Mongo.
It was a dull TV show in black-and-white, then it took 30 years to bring it to life in movies. That was the historic moment. Syfy tried to resurrect the voyage into space for TV again in 2007 but it sucked. Badly. And so, it’s back.
Why does a failed movie get so many chances to succeed? Come closer…
Because critics, no matter how they wax eloquent and rant about its thumbs, tomatoes, and observations, aren’t always right. And sometimes are full of more crap than a Christmas turkey!
This movie was every bit as good as an Oscar winner, but for far different reasons. And now, it’s meeting the technology and hype bandwagon of the 21st century! Yeah, this will be a geek paradise in B-movie heaven.
Now, if only Freddie Mercury was still alive. God rest our loving souls! AHHHHHHH!
What could arguably be the cornerstone for Porgy’s “Cult Corner” is coming back to theaters nationwide for three days only — Die Hard will hit the big screen again for its 30th anniversary, November 11-14, as part of the Turner Classic Movies (TCM) “Big Screen Classics” theater tour.
And if you get some tickets via participating box offices or online at Fathom Events, you will be able to catch the new pre- and post-film commentary by TCM Primetime Host Ben Mankiewicz. Yes, right there in the theater!
Yippee-Ki-Yay, Mother [Trucker]! (C’mon on. It’s a family show. For the children.)
If you are so inclined to see the Christmas classic — yes, Bruce, it will always be a Yuletide greeting to the fans — it’s possible there are some Easter Eggs that maybe you never knew were there in the three decades this movie has been out!
So, go! Enjoy watching the movie that introduced the great Bruce Willis and dearly departed Alan Rickman (this movie was his first feature film).
However, while nestled in your reclining theater seat, sipping on egg nog or holiday cocoa, keep an eye out for the eggs Santa left behind.
This is the ’80s when the John McTiernan classic came out. The screen was full of two major muscle-bound dudes–Sylvester Stallone and Arnold Schwarzenegger.
It’s no secret that McTiernan took a chance on a relatively unknown in Willis for this blockbuster action movie. One reason was he didn’t really have a choice. The aforementioned duo passed on the script.
[FUN FACT: The star role was initially offered to Frank Sinatra! No, really. And when he was 73.]
Remember when John McClane was letting Sgt. Al Powell know about the explosives on the roof? He said there was “enough [explosives] to orbit Arnold Schwarzenegger.” And previously in the movie when Hans was extolling his foe describing him as “Sylvester Stallone’s one man army.” (Rambo, anyone?)
Yup, intentional (deep) inside jokes. Nice. And not for nothing, McTiernan directed Ah-nuld in the original Predator.
This may read as sacrilege for those who believe Hans Gruber is one of the greatest on-screen bad guys ever (present company included) but that’s not the intent.
It turns out McTiernan loves action movies and spy classics, and Die Hard gives two pretty recognizable nods to them.
First, the obvious nod. There’s McClane rummaging up-and-down the stairwell looking for a way to get to Hans. And then, he bumps right into him. McClane asks who he was and Gruber answers (thanks to a directory on the wall of beloved office professionals) “Clay…Bill Clay.” Yeah, that’s 007’s smooth introduction, “Bond…James Bond.”
Now, the not-so-obvious one. Before there was Willis, long before, there was James Coburn. He was the man, and who was going to tell him otherwise? One of his good friends and training partners was Bruce Lee. Back in 1966, Coburn starred in Our Man Flint. In the movie, he fights the forces of evil with this mysterious Galaxy organization. The man in-charge? Hans Gruber.
This is one you may have heard because the news went everywhere, well, as viral as it got in the 1980s.
With a movie destined for greatness, the executive producers knew they needed to keep this development close to the vest. So, they decided to keep it at home.
The legendary, all-glass terrordome that became known as Nakatomi Plaza was actually the headquarters of 20th Century Fox. Like the whole building.
In real-life, the building wasn’t finished. In real-life, LAPD’s dispatch screen shows the true address of 20th Century Fox HQ when McClane calls 911 and “orders an effin pizza.” In real-life, renovations needed to happen because those explosions really happened in the building.
The number has changed but the address stays the same.
There’s Det. John McClane in JFK, fighting the crowd, to board his plane. Eventually, he would do the same at LAX meandering to his ride, chauffeured by the unforgettable Argyle, played by De’voreaux White.
[FUN FACT: White is also the guy Ray Charles almost shoots for stealing a guitar in The Blues Brothers. You’re welcome.]
Back to the bear. You remember it was a peace offering to his estranged wife (Bonnie Bedelia). Turns out that very bear is known for spreading joy in another movie, The Hunt for Red October. Another McTiernan classic starring Alec Baldwin and Sean Connery, we meet Tom Clancy’s hero Jack Ryan.
In the movie, after the fanfare and fighting, the threat has been vanquished. But, Ryan shows us all that America has a reason to smile and know everything’s going to be alright. Watch the ending again: Ryan takes a gift with him on the way home–our friend, McClane’s bear.
Okay, quick poll: Who has balled up their feet to reduce stress, just to see if it works like we saw John McClane do in Die Hard?
Turns out that habit would come back to haunt him because when McClane bumps into his foe in the stairwell (See ‘Hans Wasn’t Original’), Gruber sees his adversary isn’t wearing shoes.
That’s when the idea strikes him: “Shoot the glass!” That’s real glass, which can get really sharp when fragments are scattered all over the floor. To help protect the movie star, McTiernan gave Willis rubber feet. Ah, the things we do for those we love.
We all know the scene. Just look at that face!
Hans refuses to give up. The battle between McClane and Gruber reaches its climax in the film. And there’s Hans, hanging on to dear life thanks to a trusty little Timex around the wrist of McClane’s wife.
You may not know that Snape did his own stunts. Really! That’s him about to fall to his demise 40 feet below. And he had a three count to prepare. Unfortunately for Rickman, McTiernan told his stunt coordinator to let him go a second early. And that’s the shot in the final film.
Yeah, that’s the look of real “Oh shiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiit.”
If you own the Die Hard: Ultimate Edition two-DVD case, you may have missed this one. Put in Disc Two to see the special features. The menu lights up, nice. The theme is Nakatomi Plaza, cool. When you hover on a section, the roof lights up, lovely. Did you know when you press up, it highlights secret lights? Then, press enter to see the explosion. Fun for the whole family.
Merry Christmas. (And shut up, Bruce.)
It’s difficult to return and write about this movie.
Watching Batman v Superman: Dawn of Justice (BvS) is part of my daily routine. This film means a lot to me and it’s heartbreaking to know more and more everyday about what Justice League could’ve been. I think BvS Ultimate Edition is the best comic book movie ever.
Let’s discuss. (And if you want to @ me, I’m right here.)
Zack Snyder’s impact on comic book movies is huge and it’s sad to see him done with it.
For me, Batman v Superman: Dawn of Justice is a Superman story (yes, a true sequel to Man of Steel) that leverages Batman as a villain in it. Snyder borrowed heavily from the source material The Dark Knight Returns and added a little twist to it. He made it better by making Superman the hero and Batman as the one who is wrong.
Today, audiences go to the theaters to escape from the horror of real life. Movies like Deadpool, Ant-Man and the Wasp, and Guardians of the Galaxy provide them happiness and joy that most won’t get in real life. While some use certain comedic and fun movies to escape from the real world, I switch on BvS to do so. It gives me immense pleasure, help, and joy every time I watch it.
To understand BvS, you must understand the filmmaker behind it — Zack Snyder.
He teamed up with the Oscar-winning writer Chris Terrio to craft this visually stunning political thriller. Filmmakers like Snyder prefer to make movies where 50 percent of people love it and the others hate it. It’s way better to make a movie where people are still debating the film unlike a movie where one forgets (i.e., don’t give a fuck) just after he or she leaves the theatre.
BvS is a niche and it’s supposed to be one. Did the film lower your expectations? Fuck the expectations. Made you feel terrible? Nah. Did you hate when Snyder deconstructed two of pop culture’s greatest icons, Batman and Superman? I understand.
In the opening scene, we see Thomas and Martha Wayne brutally murdered in front of young Bruce. This is the first time Bruce becomes afraid. That fear returns when a “Super” man flew across the sky in Metropolis. After his parents death, the film goes straight for the big battle between Kal El and Zod. That is, the movie starts by showcasing the fear of Bruce Wayne.
Batman is shown violent and brutal in the film. Hans Zimmer and Junkie XL have crafted a score for Batman that is very harsh, loud, and violent. He is at his worst as a man who thinks he has seen it all but hasn’t.
“Jesus Christ, he branded him!” [Hans Zimmer music Intensifies]
And then, the film focuses on Superman, the hero of this story.
The world sees Superman as a stranger and a threat to everyone. Snyder puts Superman in our world where people are questioning his existence and meaning in this world. As Snyder focuses on Superman, he showcases Lex Luthor and Lois Lane. Lex Luthor has a similar role to Batman in this movie. They both hate Superman (for different reasons) and Luthor proves why he is the smartest man in the DC Universe.
Both Batman and Superman questioned what they were about to do. Both were unsure about their future. Both were frustrated. And both had to talk to their dads to feel better. (Alfred counts for Bruce.)
“Did the nightmares ever stop?”
“Yeah, when I met your mother, she gave me faith that there’s good in this world. She was my world. I miss you son.”
“I miss you too, dad.”
“You know my father sat me down right here and told me what Wayne Manor was built on.”
“The first generation made their fortune trading with the French–pelts and skins. They were hunters.”
“So falls the house of Wayne.”
Thanks to Ben Affleck’s exceptional acting, Snyder’s visual themes, Larry Fong‘s cinematography, Terrio’s writing and Zimmer’s and Junkie XL’s score, the Martha scene became one of the most beautiful scenes in a superhero movie.
“I’ll make you a promise, Martha won’t die tonight” — Redemption of the Caped Crusader.
“The DC Trinity” appears on screen together for the first time and Superman sacrifices for the world, which inspires Bruce Wayne to unite with other metahumans to protect this fucked-up earth.
Everyday, more and more people love this film after rewatching it. Trust me: Make some orange juice, relax, and watch this movie because Snyder has got so much to tell you through this film. There’s so much more to talk about this movie, so much of Snyder’s brilliant visual story telling, but this is what I’ve got for now.
Until more, see ya!