{"id":21763,"date":"2016-07-19T12:35:00","date_gmt":"2016-07-19T19:35:00","guid":{"rendered":"https:\/\/qgp.ykq.mybluehost.me\/cinephiled\/?p=21763"},"modified":"2016-09-22T14:58:34","modified_gmt":"2016-09-22T21:58:34","slug":"videophiled-batman-v-superman-dawn-of-the-dcu-plus-bridgend-and-miles-ahead","status":"publish","type":"post","link":"https:\/\/www.cinephiled.com\/videophiled-batman-v-superman-dawn-of-the-dcu-plus-bridgend-and-miles-ahead\/","title":{"rendered":"Videophiled: ‘Batman v Superman’ \u2013 Dawn of the DCU, plus ‘Bridgend’ and ‘Miles Ahead’"},"content":{"rendered":"

\"BatmanvSuper\"The smartest thing about Batman v Superman: Dawn of Justice \u2013 Ultimate Edition<\/i><\/b> (Warner, Blu-ray, Blu-ray 3D, Ultra HD Blu-ray, DVD, Digital, VOD) is its revisionist take on the destruction that concluded Man of Steel<\/i>, Zach Snyder’s reboot of Superman as a harder, more troubled hero in a darker big screen superhero universe than previous incarnations. After an unnecessary (but at least relatively brief) recap of the origin of Batman laid under the opening credits, we are plunged back into the battle and this time Superman (Henry Cavill) is not the protagonist. This perspective comes from the ground. He’s simply an agent of destruction in the sky as Bruce Wayne (Ben Affleck with a hint of stubble and gray in the temples) roars through the street in what is surely, at least under the hood, the civilian answer to the Batmobile. Man of Steel<\/i> quite rightly was slammed for its insensitive portrait of epic destruction in an urban center without a thought for the victims below and Snyder, in all his heavyhanded Olympian grandeur, seemed just as oblivious as Superman. Both were so caught up in the personal fight with the demons of Krypton that neither could be bothered to notice civilians crushed like ants in a battle of the titans.<\/p>\n

So while there is a feeling of Snyder’s oversight being retconned into legitimacy, Batman v Superman<\/i><\/b> does something I’ve not seen before in the big screen comic book movie universe, at least not for more than a few seconds at a time. It offers the perspective of the mortal bystander to a battle between the modern gods and finds our hero at best distracted from and at worst oblivious to consequences of a clash of the titans over urban Metropolis. In contrast to the abstracted spectacle of Man of Steel<\/i>, this destruction is more present, more weighted, more real, with the evocation of 9\/11 imagery\u2014respectful and suggestive, a matter of texture and perspective with a sense of helplessness on the ground seeing disaster above our heads\u2014fueling the anxiety and giving it an immediacy beyond the superhero mythos. Batman \/ Bruce Wayne (let’s just call him BatWayne, as there is no distinction between the two apart from the growling delivery behind the cowl), ever the pragmatist, realizes that with great power comes great danger to the rest of us. And so he begins hatching his plan to take down the man from another planet.<\/p>\n

That sounds like the beginning of a film I’d like to see. I wish it was the film that Snyder and his screenwriters, Chris Terrio (Argo<\/i>) and superhero screenplay vet David S. Goyer (Blade<\/i>, Batman Begins<\/i>, Man of Steel<\/i>), had made. Instead, we get BatWayne obsessively pursuing his Krypton bomb, SuperKent in righteous dudgeon over the vigilantism of Gotham City’s Batman, and Lex Luthor (Jesse Eisenberg), reconceived as a twitchy, hyperactive young genius driven by daddy issues and corporate arrogance, playing the two off one another as he plots their mutual destruction. The plotting is a little foggy and motivations dubious and the film almost laughably takes pains to assure us that, this time, the battles wind up in deserted waterfront ruins or an abandoned island off Metropolis (because it’s not as if prime real estate in the biggest city of the DCU has any value).<\/p>\n

This is film that offers provocative contradictions\u2014that same Superman who fails to pull General Zod from Metropolis ground zero for their new gods smackdown breaks the sound barrier to get to Brazil to rescue a single girl from a burning building and then watches stonefaced as the grateful poor peasants bow to him as if he were the second coming\u2014and then fails to even acknowledge the God complex it reveals. Behind the earnest benevolence and stony, ever-serious expression, Superman is an arrogant, self-righteous creature who can’t even control his own temper when fighting the Bat. “You don’t understand,” Supes impotently protests, and then refuses to explain, content to simply pummel him into obedience.<\/p>\n

There’s also romance with globehopping journalist Lois Lane (Amy Adams), warrior queen Wonder Woman (Gal Gadot) shoehorned in the margins of the story and the finale, a thoroughly forgettable Golem creature called forth from an interstellar genetic cocktail like a Kyptonian Frankenstein’s monster, and lo-fi teases of additional iconic DC comics heroes in anticipation of the upcoming team movie “Justice League.” Because what BvS<\/i> really, really, really wants to be the DC comic book universe (or DCU) equivalent of Captain America: Civil War<\/i> by way of Iron Man 2<\/i>, the world-building film that starts to pull the individual superheroes of the sprawling fictional universe. Their desperation to catch up with Marvel’s year-in-the-making MCU is nakedly obvious as Snyder attempts to launch a DCU out of nowhere. Even his BatWayne is a reboot, with Affleck channeling the graying, embittered, battle-scarred Batman of Frank Miller’s “The Dark Knight” mini-series into a cinematic incarnation that apparently exists a decade or so on from Christopher Nolan’s trilogy.<\/p>\n

I always saw Metropolis and Gotham City of the comic books as two sides of New York City: Metropolis the daylight version of the city of steel and glass and commerce and Gotham the nighttime urban jungle of crime and corruption in a crumbling city of old brick and industrial blight. Snyder’s Gotham is almost always seen at night, to be sure, while the steel gray and industrial blue of his Metropolis seems bled dry of its colorful energy, but he weirdly situates them across the bay from one another, essentially next door, like San Francisco and Oakland relocated to the East Coast. Which brings up a blindly obvious question in this newly-revealed geography: why has Superman never bothered to be a hero to a city mere seconds away flying at top speed? And how is it, 18 months after the events of Man of Steel<\/i>, he’s just now realizing that there’s a vigilante in Gotham who is summoned by his own beacon? It’s just another lazy contrivance that shows the sloppy world building under the stewardship of Zach Snyder. Complain all you want about the overstuffed Avengers<\/i> movies from Joss Whedon, those films have been thought through to provide not only a sturdy narrative framework but the very foundation of an entire ecosystem of heroes, villains, and government agencies, and the moral issues that go with the playing masked superhero.<\/p>\n

Batman v Superman<\/i><\/b> was neither an unqualified success nor a flop. Its high price tag (it cost over $250M) and enormous promotional budget means that it needed to pull in north of $1 billion (worldwide) to come close to the profits of the Marvel movies. It fell far short of that. Snyder’s humorless, self-serious approach, dark and dreary palette, and numbing spectacle bludgeoning viewers with ever bigger portraits of destruction seems out of step with the spry, fleet, witty, and often giddy heroics of the Marvel movies. There clearly is an appetite for this brand of comic book movie, but I’ve lost the taste for Snyder’s recipe.<\/p>\n