Tag Archives: DC Cinematic

Justice League is a flawed and enjoyable-enough crossing of the finish line for the DC Film Universe

Far be it from me to ever give a movie too much slack, but it’s a minor miracle that Justice League isn’t a total 12-car pile-up. After all, this is a movie that had at least 2 major creative sharp turns during the course of it with the critical failure (albeit commercial success) of Batman v. Superman and the tragedy-laced departure of director Zack Snyder to be replaced by Joss Whedon, two directors who could not have styles more worlds apart. Had it been an absolute mess, we could have simply sighed, understood, and moved on.

So again, let reiterate the petite miracle that Justice League kinda works. It is by no means a rousing success. There’s enough flawed narrative and weirdly bad CGI to make sure that this falls just short of managing to come in for a smooth landing or even a landing where it doesn’t take some damage. But a better-than-expected set of characters and a more resonant thematic work helps make Justice League something that you can at least see steering towards a much better place, finally.

Picking up in the wake of Superman’s (Henry Cavill) death, the world has fallen into chaos. Its beacon of hope-

By the way, let’s take a brief early sidebar. In this film’s attempt to essentially right the ship of DC state, one of its most jarring (but very welcome) choices is to not only change the character of Superman, but to pretend that was how we always was. He’s not the controversial, complicated (like your bad high school boyfriend), and feared figure of Batman v. Superman. He’s a corny, charming and human hero that the world mourns deeply and falls apart without. I get the need to reboot without rebooting and I’m certainly happy they did it, but it is odd.

has gone out and darkness looms overhead. That darkness is in the form of Steppenwolf (Ciaran Hinds), a general of Apokolips who has come to terraform in its vision. Standing in his way is Batman (Ben Affleck), who’s figured out the invasion is coming, and Wonder Woman (Gal Gadot), who knows the power of this ancient enemy.

Together, the two must recruit other superpowered individuals across the globe. From Aquaman (Jason Momoa), a troubled loner seeking solitude, to The Flash (Ezra Miller), an eager young man hoping to get his father (Billy Crudup), to Cyborg (Ray Fisher), a former football star who was stitched back together with mechanical enhancements after a devastating accident.

Our scrappy group of heroes is perhaps the best thing about this movie. Of our returning (that I can talk about), Gadot has such a star quality, a charismatic screen presence who’s enrapturing to follow, and her Wonder Woman is a very classical sort of superhero, with shades of that fundamental decency and belief in good that Christopher Reeve had. Affleck’s Batman is still sadly underdeveloped, but he gets more room to breathe with the ability to make a dry joke or two and lighten the character up just a little bit.

But hey, you knew that. It’s the new ones you came to see, so let’s just run down them.

Ezra Miller has been a star on the rise since Perks of Being a Wallflower and here you see what he can do in a bigger picture. He gets to play a Spider-Man role, a young hero in awe of the adults around him trying to figure out his place. The effects for him could use some work down the road, but there’s an exciting quality to a superhero who doesn’t come in ready to fight, playing more with nervous energy than many of the characters around him have.

Momoa is functionally playing Aquaman at his bro-est, think a Zack Snyder version of The Brave and the Bold’s cheesy, over-the-top-at-all-times Aquaman. It’s an enjoyable enough performance, though underdeveloped given that he’s the reluctant member, filling in a role that Batman often plays in team-ups like this. If they given him more room with his place in Atlantis, we might really see something interesting.

Fisher is the newest actor here, so naturally anything he’s gonna do is the biggest surprise. Fisher is actually really good here, giving Cyborg a little more substance than the Frankenstein monster he’s written as. There’s a cool, calm relaxed assurance to his character, something I wasn’t expecting but that Fisher really sells.

And perhaps most importantly, Justice League gets a team dynamic right. While Steppenwolf may not necessarily be the threat the movie needs (is he really that much more powerful than Ares?), there’s a sensible dynamic that brings them together. If The Avengers are a team of the personally flawed who had to get over themselves, then the Justice League (never called that in the movie) are a team of the tragic who have to move on. Each of them has lost something and they have allowed it for too long to consume them who need to save a world that has lost something and been consumed by it.

Justice League is essentially a movie about how those around us can help us move through tragedy. How the depths of despair can be escaped with a hand reaching down.

It’s a shame how much it gets right because the disastrous production got just enough wrong to keep it from really succeeding as it should be able to.

Steppenwolf may rank as one of the worst comic book movie villains period, down around Malekith the Accursed or Enchantress. His motivations are completely muddled, his threat is unclear, and the mythology behind him is only glancingly referenced, avoiding the substance an obscure villain like Steppenwolf would need. The lack of physical presence from Steppenwolf is noticeable too, an all-CGI character might be fine…

If it wasn’t for the weirdly terrible effects work in this film. I get that reshoots likely forced a lot of quick fixes, but the sheer amount of CGI might also come some way towards explaining why none of it felt focused on. Terrible green-screen, a lot of clearly visible actor replacements, maybe one of the most jarring human effects I’ve ever seen, and Steppenwolf himself looks plasticky and fake, like someone’s having an action figure fight the Justice League. Cyborg also falls victim to this from time to time, his design is just too busy to really look good. There’s a very substandard quality to something that takes up so much of this movie.

Which’d be fine if this film worked well narratively. To its credit, Justice League fixed Batman v Superman‘s pacing problems. This is a snappy, fast-paced narrative that’s always got something happening. The problem is that it’s got it happening way too fast. The jump from moment to moment can be jarring, much of the actual machinations don’t hold up to much scrutiny (I’m sure), and there’s a lot of introductions to people that only matter for a scene.

We’re given an early moment to a terrorist group led by Michael McElhatton (Roose Bolton from Game of Thrones) that Wonder Woman defeats. They get introduction, a monologue, and a whole action sequence and then are unceremoniously dropped without any explanation of why they got that much time. There’s multiple things like this throughout the film that just don’t work.

Plus your mileage will absolutely vary on the mechanics of the writing. Between Terrio and Whedon, the dialogue is…corny. This one feels like a Saturday morning cartoon more than anything else, and not necessarily the Bruce Timm cartoons. Your enjoyment of this film is really going to depend on how the film’s sense of humor works for you and how much you can get over some clunkers.

I’ll say this much. I could vibe on Justice League‘s sense of humor and the clunkers didn’t bother me much. There’s an entertainment value to this movie that works, character moments and beats and sequences that really do soar and get the fist pumping. This is the worst superhero movie this year, but it’s more the fault of the quality of the rest rather than simply the issues here.

Justice League is an enjoyable enough ride and one that steers the DC ship in the right direction. It feels like a purge of the universe that came before it and the creation of one that may be far more sustainable. One more full of heroes that want to do good and a world that is worth saving.

Objective: C
Subjective: B

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Oh thank Hera: Wonder Woman is a resounding, unabashed, and joyous success

It is perhaps fully impossible to ever truly overstate the feeling of relief that washed over me when the credits of Wonder Woman rolled. My animus towards and deep disappointment in the DCEU thus far is thoroughly well documented. I mean, I’ve detailed the fuck out of it.

But I speak so frequently and so passionately because I really do truly care for these characters. My attachment to this franchise has been something like a parent whose child makes a wrong step at every conceivable measure, hoping that they will eventually correct the path and get things right.

This time, they got it right.

Wonder Woman, the fourth entry in the nascent DCEU, is the first truly unabashed success. There is no rationalization required, no dense sorting through half-formed ideas given fullness. This is a great movie about a true hero, the first of these movies truly cast in the DC Comics mold. It’s funny, romantic, exciting, and a clarion call not only for what this franchise could be, but for another way forward for superhero cinema.

Wonder Woman is framed in the modern day, Diana Prince (Gal Gadot) receiving the original plate of the photo from Batman V. Superman: Dawn Of Justice, a photo in her full regalia from a long-ago war.

This flashes us back to Diana’s childhood on the island of Themyscira, the only child on the island and the daughter of Queen Hippolyta (Connie Nielsen). She’s an Amazon, a group of warrior women created by the Greek Gods. She’s trained by Antiope (Robin Wright) and becomes the fiercest among them, wielding a power no one fully understands.

Their idyllic world shatters when Captain Steve Trevor (Chris Pine) crash lands on the island with a battalion of German soldiers following behind. Man’s World has erupted in the War to End All Wars, which Diana believes can only be at the hands of Ares, the God of War. So she leaves the island with Captain Trevor to kill Ares and save the world.

It feels only appropriate to begin assessing this movie at the top, looking at Wonder Woman herself. Gal Gadot has been a low-grade charmer for years, her role as Gisele in the Fast & Furious franchise being a particular scene stealer, and Wonder Woman proves how ready she is to launch to the top of Hollywood.

Gadot turns out an incredible lead performance here. There’s a grace and a kindness underlying an undoubtedly powerful warrior, an emblem of peace through strength. Gadot is particularly adept in this movie at pulling you into her perspective, at filtering the film through her eyes. It’s the off-kilter way she engages, the enthusiasm in just the wrong places and the confusion in just the right ways. She stands tall as a hero, poised to move to the top of the Hollywood Ass-Kicker list.

But it isn’t just Gadot’s performance. Affleck does a bang-up job playing Batman after all. It’s the character they’ve crafted. For the first time, Wonder Woman gives us a hero in the truest DC mold, an emblem of something greater, an ideal that pushes against a darker world.

all-star

Diana here stands for something greater, for a love that can conquer the darkest impulses of humanity, for a hope that one day war can end. Diana uses her strength, but it’s as a peacemaker, as a hero that truly believes that humanity is good and can be made better. It’s not the flawed heroes of the Marvel Universe, but a representative of more, a God that stands above and charts a way forward.

Wonder Woman and the eponymous character both revel in striving towards something better. That’s what has set DC apart and can continue to set it apart, if it continues to use it right. It isn’t as though this film doesn’t engage in the philosophizing that has marked films like Man of Steel and Batman v Superman. Rather, it understands that there can be fun while you prod those questions, a movie that thrills you and uses those thrills to dig in deep. We understand Diana’s belief in doing good because we see the people she saves, but also because we feel the joy and adrenaline along with her.

That is, I believe, thanks to director Patty Jenkins. Consider this quote from a New York Times interview:

This may be a cheesy question, but what do you want people to take away from this movie?

Did you say cheesy? Cheesy is one of the words banned in my world. I’m tired of sincerity being something we have to be afraid of doing. It’s been like that for 20 years, that the entertainment and art world has shied away from sincerity, real sincerity, because they feel they have to wink at the audience because that’s what the kids like. We have to do the real stories now. The world is in crisis.

I wanted to tell a story about a hero who believes in love, who is filled with love, who believes in change and the betterment of mankind. I believe in it. It’s terrible when it makes so many artists afraid to be sincere and truthful and emotional, and relegates them to the too-cool-for-school department. Art is supposed to bring beauty to the world.

Perhaps no mission statement better embodies the successes of what we see on screen.

Consider (keeping in mind the work screenwriter Allan Heinberg did) the film’s central romance, between Diana Prince and Steve Trevor. Romance in superhero films is often, to put it mildly, begrudgingly trotted out to please some executive trying to meet 4 quadrants.

Wonder Woman has perhaps one of the most successful on-screen romances in any superhero film. Much of that is helped by Pine, who does an absolutely phenomenal job as the noble but compromised Trevor, and his chemistry with Gadot. The two have a crackling banter that feels like a great screwball comedy and it’s easy to see what they might see in each other.

But it works because of that mission of sincerity and that thematic motivating belief that love can and will do good in the world. It informs the romance and gives it the space it needs to breathe in the movie. I can think of few movies that would indulge so many quiet and melancholy moments in this romance, or that would allow moments so unabashedly silly in the same space. But Jenkins’ sincere belief gives their love room to breathe and it makes it work.

That belief extends throughout the film. It’s that sincerity that makes everything work emotionally. Everything resonates, everything feels real, Wonder Woman goes for broke and it hits so often that it can wallpaper over any flaws.

I could of course pick at a few scabs. The third act indulges in plenty of weightless CGI battling, I wish it had been allowed to really make its own visual palette, the slo-mo can be a little much, and it takes a little too long to really get cooking at the beginning.

I say all that knowing there are small things littering the film to praise as well. The supporting cast, from Lucy Davis’ delightful Etta Candy to Ewen Bremner’s charming and sad Charlie to Saïd Taghmaoui’s roguish Sameer to Elena Anaya’s cackling Dr. Poison, fills out the margins of the film in a way few superhero films indulge. The action is phenomenal, a sequence set in the No Man’s Land of a Belgian battlefield is a total all-timer.

Rupert Gregson-Williams’ score must also be singled out. An old-school, sweeping score of a kind you hear less and less since the Zimmer style became popular, it really helps drive these moments home.

But I can’t throw too much shade, because Zimmer did help write the Wonder Woman theme, a recurring guitar riff that showed up in Batman v. Superman to announce Wonder Woman’s arrival, and here shows simply how great it is to have a theme for a character. When that guitar riff enters during that No Man’s Land sequence, you’re damn near ready to jump out of your chair cheering. That’s a theme song.

In my eyes, Wonder Woman is simply the best traditional superhero movie in some time. Its belief in do-gooding, its thoughts on what that can mean, its great performance, its unabashed joy in superheroics are such a breath of fresh air. This is a victory, a story that finally lets a DC Comics character come to life, and be who they are and what they stand for.

Grade: A

Ben Affleck Isn’t Directing The Batman, So Who And What Is Next?

If, like me, you pay close attention to the bread and the circuses in order to distract you from the governmental monument to the arrogance of man that we’ve been erecting, you may have heard last night that Ben Affleck, both matinee idol and director of lean thrillers born too late as well as the currently sitting Batman, has dropped off his directorial duties for the upcoming solo Batman flick in the DC Extended Universe.

In the exclusive for Variety, Affleck seems to attribute the decision to the difficulty of juggling the physical and emotional demands of performing the main role combined with the physical and emotional demands of the main creative role on this film. It’s interesting to note that the Variety announcement seems to only state that Affleck is pulling back to only producing and starring as Batman, which leaves his role in the screenplay of the film to be determined.

That’s an important note because the screenplay seems to be the thing that ended up pushing him out of the film. Affleck repeatedly commented that he wouldn’t do the film unless he felt he could get the script right and he was reportedly having trouble getting the script to that place, especially in the long post-production wake of Live By Night.

Affleck’s The Batman was long-considered to be the ace in the hole for the DCEU, the film that was almost certain to gain the critical respect that no other film seemed to be able to find. So, what does it mean that it’s not happening and where do we go from here?

Without context, this doesn’t necessarily seem to be a bad move. Affleck is right, Batman is an incredibly physically intensive role, both in prep and in the stunt work that would be asked of him in even the most basic iteration of a story like that, much less the fact that he would be directing in the often stifling Batsuit. In the wake of the critical reception to Live By Night, much of which was focused on the poor decision that Affleck made to write and direct and star, it seems reasonable that Affleck would reconsider his decision in a role that could have been a particularly damaging failure for him.

But let’s keep in mind the context of the behind the scenes drama of the rest of the DCEU. So far, this is the fourth director these films have lost and we’re currently only three released films in. These are critically reviled films that seem to have a longer life as bad movies than they do in their success. This news seems to speak not only to Affleck being unable to get the script together, but that Warner Brothers isn’t ready to give him the time to get it together, scrambling to try anything to revive this universe in the public eye, as this is definitely a rushing sort of action. Between that and a major change of creative head on this film, it bodes ill for the confidence we should have in this film.

It also potentially speaks to the disarray behind the scenes. Affleck is a major creative force in the universe as a whole. This looks like a distancing tactic, Affleck pulling away from associating himself with it. You see, Affleck could honestly pull off getting distance. I mean, he’s one of the more uncontroversial parts of this universe, his performance is legitimately good even if his writing is iffy. But it’s also because he has a long career as an actor and he has directorial work to fall back on, unlike the “First Major Film” association that a lot of the other stars of this universe are having to deal with. So, if there’s rumblings of worry that he’s feeling with Wonder Woman and Justice League, then it’s perfectly possible for him to pull away.

This is all, of course, speculation. Everything to do with this development will be, at least until the behind the scenes tell-all comes out. But something that we can start to think about is who’s gonna replace Affleck in the director’s chair. Batfleck is, like I said, still a relatively well-liked part of this universe and the quicker they can make something happen the better.

The director shortlist is already out there. You’ll notice the absence of fan favorite names like David Fincher. The first thing to understand is that despite the “director-oriented” universe, DCEU now has a reputation for studio interference. Fincher is sure as shit not about to jump into another Alien 3 scenario, and without a dump truck full of money and total creative freedom, I can’t imagine him on board here.

The other thing to remember is that shortlists aren’t necessarily who’s legitimately interested, but more who Warner Brothers wants and has maybe had a meeting with about the possibility. On lists like this, never necessarily look at the exciting possibilities as being at the top.

Which means not to get to jazzed about George Miller or Denis Villeneuve. Miller has spoken to wanting to do something smaller before jumping back into a large scale project. Besides, I don’t necessarily see him as a perfect fit for a Batman movie, which should thrive on a smaller scale of action (much more one-on-one) than the massive Fury Road. 

As for Villeneuve, he’s likely moving straight to Dune, reportedly a dream project that Legendary wants to make happen fast for the franchise potential. I can’t imagine he’ll delay that one too long, given the blank check that he now has thanks to his Oscar nomination. Besides, I feel like he’s going to want a little more freedom than Warner Brothers is willing to give. Villenueve is a Fincher/Nolan-style director where he tends to take other scripts and make his own style and concerns out of it, where I imagine Affleck is still going to be a strong creative voice.

Which leaves Matt Ross, Matt Reeves, and Gavin O’Connor. Matt Ross, coming off Captain Fantastic, is an odd choice, so I can’t comment on why he’s here. Matt Reeves and Gavin O’Connor are the most natural fits, both being company men familiar with collaboration who have made big budget genre pictures. Reeves made the phenomenal Dawn of the Planet of the Apes as well as Cloverfield, so it seems like he’d be a natural fit if he’s willing to jump big franchise to big franchise.

But your most obvious fit here is Gavin O’Connor. He’s collaborated with Affleck before on a visceral and vaguely superheroic pulpy action film that did well for Warner Brothers, and Warner Brothers tends to reward its successful directors. He’s a capable action director and he’s not exactly overwhelming in his style. In fact, this seems like a choice so obvious that you absolutely should be shocked if it doesn’t end up being the case.

Yeah, none of the realistic possibilities exactly light the world on fire. Villeneuve’s Batman or Miller’s Batman could be something worth getting excited for again. O’Connor and Reeves seem like fairly standard for the way the universe is putting things together. And they’re certainly not as exciting as Affleck, a director almost made for the noir-ish crime thriller that Batman has never really gotten the chance to be.

Really, that’s what we ended up losing here. Affleck’s meat-and-potatoes thriller directing was exactly what the DCEU and Batman needed. His action-thriller flicks are a rare treat, but it seems as thought The Batman is doomed to be another entry in a slowly declining set of possibilities.

Suicide Squad’s Extended Edition and Warner Brothers’ Most Fatal Mistake

Today came the most inevitable announcement of 2016. No, not that the King of All Clowns finally announced that recent clown attacks around the country have indeed been in support of Donald Trump. Guggo is speaking on Tuesday.

No, it’s that Suicide Squad is getting an Extended Edition. Despite the fact that we had already apparently seen the Director’s Cut, November 15th Digitally and then December 13th on Snail Media will see the Extended Edition of Suicide Squad being released.

This isn’t an article to speculate what’s on the Extended Edition. My guess is some sort of justification for why Jared Leto had to send dead pigs and anal beads to A- and B-list celebrities by putting back some of the apparently missing Joker scenes.

This also isn’t an article to further crap on Suicide Squad. I’ve done that enough. To be honest, I’m guessing that much like The People v. Batman v. Superman, the Extended Edition can at best trim some of the film’s incoherencies. The DCEU’s narrative problems are often the least of its crimes. Its story decisions, character-building decisions and tone problems will always ultimately be the most damning things that no Extended Decision can fix.

This will however be further bashing on the DCEU. Sorry about that, but I love the DC Comics Universe and the amount of leeway these films would have with me otherwise should tell you how root-of-it-all offensive I find a lot of the decisions. Moreover, I think the problem of Warner Brothers twice-now releasing an Extended Edition (three times if we count Watchmen) of their DC Films may speak to the root of what’s wrong with the thought process behind this universe.

Of course, this isn’t the first time Warner Brothers has let loose their Extended Editions. Trust me, we wouldn’t have these if it wasn’t for Lord of The Rings, a popular trilogy of releases that added back in a lot of content and pushed a watch of all three into true endurance test territory.

Now, those editions added a lot. Nothing that fundamentally changed the film, but plenty of new content to sink their teeth into. And that was largely true for Watchmen, just additions based on an already existing story.

But then that brings us to Batman v. Superman: Take Two.  Rather than being extra, the Ultimate Edition re-release functioned almost as an apology and second chance, an attempt by Warner Brothers to reconfigure the film after the less popular release. It added back in character moments, including almost rewriting Superman as a public figure, Clark Kent as a reporter, and extra detail about the beyond violent Batman. It also added in new plot details, including confirmation of Lex Luthor’s string-pulling and the death of Jimmy Olsen.

All of this actually does change the film, creating a different reading of its narrative arc and the way that we need to engage with its characters. It recontextualizes the film. The obvious problem is that releasing a separate (and arguably improved, though barely) version of the film, for lack of a better term, on DVD is a slap in the face to viewers and a total missed opportunity that shows how little thought Warner Brothers puts into planning this universe. Why was the best version of this material not available initially? Why was a film that needed these fixes put out well after the fact? What changed their mind?

There’s a bigger problem though, and it’s how Warner Brothers is engaging with the Cinematic Universe mode of storytelling.

Actually, I don’t like that term. When we get down to it, every film is a cinematic universe. They’re creating a world for us to live in with its own history outside the edges. A good film should be a universe on its own.

Rather, I want to propose that the model we see with Marvel Studios, DC Films, Star Wars, and countless other attempts should be better deemed “Open System” cinematic storytelling, which is a deviation from the standard mode of “Closed System” cinematic storytelling.

In Open System cinematic storytelling, there is no resolution. That’s the basic building block. The universe always exists for the viewer, and no one story is bringing it to an end. While you may close off an individual path, there is always a mind towards moving towards the next step, and the decisions made will affect each step. Because of that, Open System is inherently transmedia, because any media introduced into an Open System storytelling model will alter the characters and the universe around it, whether they’re acknowledged or not.

Just to note, this isn’t a new model. Comic books and most nerdy genre series like Star Wars and Star Trek have existed in this space. That’s why we have arguments about what’s Canon and what’s not, determining what’s a part of the system to understand the next step.

To contrast, Closed System cinematic storytelling is about resolution. The end of the film closes off the story loop, and even if it’s reopened, it’s closed the next time. Our adventure is over, and any hint at the next one doesn’t mean that the loop is still open. Our time in this cinematic universe can only be altered at fixed points, and there’s always an endgame in mind.

Lord of the Rings is very much a Closed System series. We’ve seen the end, we’ve had the resolution of the specific story universe therein. The Extended Editions are therefore a reopening and reclosing of that loop. No matter what happens, we still hit the same conclusion at the end, there wasn’t more to change.

On the other hand, the DCEU is an Open System series. We’ve not resolved the story, on the contrary, we’ve just begun. We see where our story is going, and we see there’s countless deviations and paths the story can go down. Which is why Warner Brothers recontextualization of their stories in multiple mediums is such a problem.

Marvel Studios adds, but never changes. We find out new information, but we do not change the information we know. On the contrary, the changes of the Ultimate Edition is an alteration to the story, with no clear path on which is now the story the Open System has absorbed. Is the Theatrical Edition the version of Superman that’s coming back to life in Justice League, or is it the Ultimate Edition? Is the relationship between Harley Quinn and the Joker loving or abusive, depending on the scenes the Extended Edition adds in, when it inevitably comes up in The Batman?

Warner Brothers isn’t thinking ahead to what it means to drop new information and change things around in their Open System, because they aren’t planning. They’re reacting, reacting to bad news and bad press and good news and potential new revenue streams. Which is fine, they’re a business. But they’re an artistic business, and they’re harming their art for business potential. Is it any wonder there’s been such behind the scenes drama when we see above the board evidence that Warner Brothers isn’t thinking through the decisions they made, with the consoling thought that they can fix it later?

If Warner Brothers, and countless other studios sure to soon jump on the Open System model, want to survive, planning and clarity is key. Otherwise, Justice League may end up the most expensive egg on their face any studio has ever had.

Superheroes without Supervillains

Superheroes are here to stop supervillains. If the heroes are mythic embodiment of what’s good and righteous in humanity, then villains are the devil, the stand-in for our worst impulses and our darkest desires. The wish we have that power really is the ultimate good, and that we had the ability to exert it. Or the wish that doing what thou wilt really could be the whole of the law.

In other words, superheroes and their villains are inextricably connected, two sides of the same coin. As much as the hero that they choose to fight defines the villain, so does the villains and their pushback against them define the hero.

The bastards and broken people that fight Batman are a reflection of his own psyche, and more specifically that he rose above his pain to become something greater. His villains allowed themselves to give into the darkness and sink into it. Part of the reason they attack him is that he repudiates the monstrosity they’ve become.

The best villains of Superman are all reflections of his power. People who are strong enough to have done good, but chose to exert it against the world rather than work for it. Lex Luthor is the peak of humanity, yet he chooses to spend his vast intellect and resources battling Superman rather then bettering humanity as he could, out of nothing but petty spite and jealousy.

So, with all that in mind, we’re left to ponder why the hell the modern superhero movie seems to have such a villain problem.

Namely, that the modern superhero movies seems to completely neglect the supervillain.

Continue reading Superheroes without Supervillains

Case 08042016: Brandon Wagner v. Suicide Squad

Ladies and gentlemen of the court, we have here before us today a case of villainy most foul. Not in the sense of the traditional evil, of course. But rather, in the sense that injustice has been done. A premise, seemingly tailor-made for cinematic action and DC Cinematic Universe expansion, has been snuffed out. A group of great actors and characters wasted in another Warner Brothers tragedy.

Continue reading Case 08042016: Brandon Wagner v. Suicide Squad