Batman v Superman: Dawn of Justice

For F*** Magazine

BATMAN V SUPERMAN: DAWN OF JUSTICE 

Director : Zack Snyder

Cast : Ben Affleck, Henry Cavill, Amy Adams, Jesse Eisenberg, Diane Lane, Laurence Fishburne, Jeremy Irons, Gal Gadot, Holly Hunter

Genre : Action/Adventure/Fantasy

Run Time : 2 hrs 32 mins

Opens : 24 March 2016

Rating : PG13 (Some Violence)

The following review is spoiler-free.

Superheroes collide with shattering force in the second film in the DC Extended Universe (DCEU). It has been 18 months since Superman/Clark Kent’s (Cavill) battle with General Zod in Metropolis. Clark has moved in with fellow reporter Lois Lane (Adams), and Superman has gained both admirers and fervent detractors. Falling into the latter camp is Gotham City’s Batman/Bruce Wayne (Affleck), billionaire industrialist by day, ruthless vigilante by night. His butler Alfred (Irons) advises against taking rash action, but Batman is convinced that Superman’s power, if left unchecked, will lead to global annihilation. Also plotting to take down Superman, albeit for more selfish purposes, is young tech mogul Lex Luthor (Eisenberg). Luthor lobbies Kentucky senator June Finch (Hunter) to support his R&D efforts in developing a deterrent to use against Superman, while Finch calls for Superman to explain himself before the senate. In the meantime, Bruce’s curiosity is ignited by the presence of Wonder Woman/Diana Prince (Gadot), an elegant and capable warrior of yet-to-be-determined origin.

2013’s Man of Steel left critics and fans sharply divided, and it’s an understatement to say that this follow-up has quite the burden to bear. There’s no question that DC is playing catch-up to Marvel at the movies and there was the valid fear that Batman v Superman would be overstuffed to make up for lost ground. Batman v Superman does have apparent flaws, but a conscious effort is made to incorporate a substantive depth that the Marvel Cinematic Universe (MCU) doesn’t yet possess, outside of Netflix anyway. Character motivations make plenty of sense, conflicts are given context, major disagreements are not conveniently settled and the main criticism of Man of Steel, the wanton destruction caused or at least enabled by Superman, is directly addressed. Characters wax philosophical on the nature of god and man, the implications of nigh-unlimited power and notions of justice. This may come off as portentously logy to some, but to others, these are icons worth delving into.

Much has been made of the film’s 152-minute running time. Structurally, it is front-loaded with plot, with the bulk of the action being slathered on thick towards the conclusion. This reviewer did not feel the film was too long, and the character development we get during the first two acts is very satisfying. However, some audiences are bound to be fatigued and hard-pressed to care all that much about the climactic battles if they’ve already tuned out while Bruce is at the Batcomputer decrypting a hard drive. The Senator Finch subplot also proves largely extraneous.

Full disclosure: this reviewer is a massive DC Comics fan and is able to appreciate director Zack Snyder’s interpretation of seminal imagery and plot points from the source material, most notably The Dark Knight Returns. Nothing in this film made us throw our hands up in the air, crying “they just don’t get it!” Because of the sheer breadth of these characters’ history in the comics, there’s no way to please everyone, and this reviewer found that the interpretations of Batman, Superman and Wonder Woman feel like they belong in the same cohesive universe.

Any time Batman and Superman are in the same piece of media, the former is bound to steal the limelight from the latter. Affleck’s casting was controversial, with many deeming him insufficiently intimidating. This version of Batman is a grizzled veteran who’s 20 years into his crime-fighting career, employs a dazzling array of high-tech gadgets and is driven and obsessed. Good enough for us. Sure, he displays a sadistic streak, branding criminals with his bat insignia, but then again, Michael Keaton’s Batman shoved clowns into potholes, leaving them to explode as he grinned. There are references to allies and rogues, Batman’s relationship with Alfred gets sufficient play. Irons brings both the wry charm and the gumption to stand up to Batman that are integral to the Alfred character. The Bat-centric action sequences are strongly reminiscent of the recent Arkham video-game series, which this reviewer feels contained some of the best sequences of Batman in combat ever presented.

Superman is variously referred to as a “god” and a “devil” and Cavill continues to dig for the humanity behind the iconography. While he might lack the acting chops to flesh out a truly compelling Superman, particularly when pitted against Batman, it’s good to see Clark juggle the heroics and his reporter day job. There’s also the element of class warfare: Bruce is the scion of a wealthy family; Clark was raised on a farm in Kansas and works the daily grind as a journalist. There are some genuinely sweet moments that Cavill shares with Adams. While we do get to see Lois in the thick of it doing a good deal of snooping around, the main purpose the character serves is to get rescued and get rescued and get rescued. Lois had a significant role in the proceedings in Man of Steel, but is side-lined a little because of everything else occurring in the story here.

Eisenberg’s performance is the biggest problem this reviewer has with the film. This is meant to be a reinvention of Lex, traditionally more of a quiet schemer type. Lex’s reworked back-story, which sees him as a young tech mogul who has reshaped his father’s aging company into a Silicon Valley power player, is just fine by this reviewer. Many of the character’s lines are clever and his actions and appropriately devious. However, Eisenberg’s twitchy jumpiness is unable to convey the deep-seated menace one of the most iconic DC supervillains should inherently possess. His words and actions are despicable enough, but his mannerisms diminish their impact.

Wonder Woman’s presence here reminded this reviewer of Black Widow’s role in Iron Man 2. Since there’s so much already afoot, the character’s first big screen appearance is more of a pointer to her upcoming solo film, with several clever allusions to Diana’s roots in Greek mythology being included. The moves she busts during the final fight, her entry onto the battlefield heralded by Tina Guo’s rocking electric cello solo, are sure to elicit cheers. That’s the standout bit of Hans Zimmer and Junkie XL’s soundtrack for sure. Gadot does not have too much to do here, but her blend of mystique and strength fits Wonder Woman just fine. The product placement is toned down considerably from Man of Steel; the most obvious instance being when Wonder Woman boards a Turkish Airlines flight – a visible jet, if you will.

Many were worried that that the film might spend too long setting up the upcoming Justice League movie, but it turns out that we get fleeting glimpses of the superhero team’s future members; said glimpses are tantalising and memorable. Just as the titular heroes grapple with each other, this film grapples with doing these iconic characters justice while serving up bombastic spectacle. It falters on several occasions, but this reviewer appreciates how the DCEU is setting itself apart from the MCU. The three-episode arc of Superman: The Animated Series in which Batman and Superman first meet does have far more of a focus than this film has, but this live-action event should not be written off lightly and we’ve got our fingers crossed for how the DCEU proceeds from here.

Summary: Packed with as much thematic pondering as super-powered fisticuffs, Batman v Superman might be a chore for some to sit through, but it’s clear the filmmakers have not taken this clash of titans lightly.

RATING: 3.5 out of 5 Stars

Jedd Jong 

Man of Steel

For F*** Magazine, Singapore

MAN OF STEEL

Director: Zack Snyder

Cast: Henry Cavill, Amy Adams, Laurence Fishburne, Diane Lane, Kevin Costner, Michael Shannon, Antje Traue, Ayelet Zurer, Russell Crowe

Genre: Superhero, Action

Run Time: 143 mins

Opens: 13 June 2013

Rating: PG13 (Some Violence)

Truth, justice and the American way – it never gets old. When Jerry Siegel and Joe Shuster’s creation first lifted a car off the ground on the cover of Action Comics #1 in 1938, it was a very different time. Yet, Superman has endured as a pop culture icon for 75 years and counting; it’s even been said that the “S” crest is the second most recognizable symbol in the world, just behind the Christian cross. The Last Son of Krypton swoops back onto movie screens in Zack Snyder’s long-awaited reboot. So, has this Man of Steel proven his mettle? 

It’s a familiar tale that has deservedly become modern myth: Kryptonian scientist Jor-El (Crowe) and his wife Lara (Ayelet Zurer) decide to send their newborn son Kal-El away from their dying world to ours, Earth. Krypton’s military leader, the ruthless General Zod, has staged a coup but is eventually imprisoned with his cohorts, as he vows to find Kal-El and enact his revenge.

On Earth, this space-age Moses in his “basket” is found by Jonathan (Costner) and Martha (Lane) Kent, who raise him on a farm in Smallville, Kansas as their son Clark. As a child, Clark struggles to come to terms with the truth of his alien origins as he tries to fit in with his peers. An adult Clark (Cavill) goes off to “find himself”, coming to the attention of intrepid reporter Lois Lane (Adams). Meanwhile, General Zod and his cohorts arrive on earth, demanding that Kal-El be handed to him. Clark/Kal-El takes on the mantle of Superman and defends his adopted homeworld from the treachery of the Kryptonian warlord.

Is Man of Steel a better film than the earlier reboot attempt Superman Returns? Thankfully, it is. Superman Returns suffered from a slavish worshipfulness of the earlier film series, with director Bryan Singer being so caught up in homages and iconography that the franchise wasn’t moved forward. Chief of the complaints levelled against Superman Returns was that there was little to no actual action in it. Rest assured that that’s been rectified – Man of Steel’s action sequences involve earth-shattering melees between superpowered beings, including the obligatory climactic sequence in which a metropolis (well, the Metropolis) is laid to waste.

Director Zack Snyder, by now somewhat infamous for his penchant for dramatic and highly stylized slow-motion sequences, attempts to rein his style in. Man of Steel has a desaturated colour palette and doesn’t look as slick or artificially polished as some of his other work – this is most likely an effort to evoke the style of Christopher Nolan’s Dark Knight trilogy. Snyder’s fingerprint is most evident in scenes like the one in which a “reconstruction” of Jor-El gives his son a crash course in Kryptonian history by way of an animated sequence. On the whole, while it might look a little drab, it doesn’t feel like the “dark and depressing” formula has been forced on the Superman character. The sometimes-jerky camera movements aren’t helped by the 3D, so see this flat.

This reviewer’s favourite parts of the film weren’t the big fight scenes but rather the flashbacks to Clark’s childhood. Cooper Timberline portrays Clark Kent at age 9, and there is a very powerful scene which conveys how Superman’s special abilities are a double-edged sword and how he had to slowly master control over things like his super hearing. Dylan Sprayberry plays the 13 year-old Clark, and we see how Clark’s innate desire to do good takes precedence over protecting his secret. Both Kevin Costner and Diane Lane bring a humanity to their portrayals of Ma and Pa Kent, characters who have generally been perceived as good-hearted, kindly folk and not much more. This film shows just how important they were to Clark in his formative years; it’s comparable to Martin Sheen and Sally Field’s turns as Ben and May Parker respectively in last year’s The Amazing Spider-Man.

The film opens on Krypton, which is no longer a crystalline world populated by shimmering, white-clad senior citizens. This is a Krypton that looks majestic and alien, as well as lived-in. The audience is dropped right into the middle of a civil war on a planet on the brink of annihilation, and Russell Crowe even gets some action beats in scenes with Jor-El outrunning General Zod’s troops. The design elements are fascinating, from baby Kal-El’s rocket ship to the helmets worn by Zod and his underlings to the redesign of that iconic blue suit. Yes, this one doesn’t have the underwear on the outside (which was apparently meant to be reminiscent of Victorian strongmen), so we can all stop with the jokes.

It is good to see Henry Cavill get his big break after having been passed over for roles such as James Bond, Edward Cullen, Batman and yes, Superman before. In addition to looking the part, the actor is able to convey Superman’s inherent nobility, chivalry and moral compunction without coming off as a corny goody-two-shoes. The military is understandably wary of Superman when he first shows up, and scenes in which Superman communicates with them, attempting to allay their fears and establish that he’s one of the good guys are all played very well.

General Zod was portrayed by Terence Stamp in Superman II as an over-the-top tyrant who liked to yell “KNEEL!” Michael Shannon has proven he can play a scary villain before and is at it again with this compelling portrayal. Yes, he gives in to hysterics every so often, but he also comes off as a capable and truly dangerous military leader. Zod’s evil scheme is well-defined and logical, his motivations easy to accept and he and his troops (including Antje Traue’s Commander Faora) do make for formidable opponents. Sure is better than another round against Lex Luthor.

It’s been accepted that Lois Lane’s main purpose seems to getting into trouble so Superman can save her, the “Woman of Kleenex”. What’s great about Amy Adams’ portrayal of the character is yes, she is the damsel in a degree of distress, but she’s proactive and plays a very important role in the plot, doing her part to set events in motion. She’s definitely a step or more up from Kate Bosworth’s younger, blander Lois.

Man of Steel is a return to form for one of pop culture’s most significant icons. Yes, it does stray into run of the mill wham-bam territory, particularly during the final battle in which a mostly digital Metropolis bears the brunt of Zod and Superman’s tussle. On the whole though, it is a more than satisfying revamp that hopefully will pave the way to a fully-fledged DC cinematic universe.

Summary: You don’t have to be a comic book aficionado to enjoy this new, mostly very good take on Superman. Things get a little too noisy and a little overblown towards the end, but it’s better than no action at all and there are some moments of sincere emotion that do justice to the character. 

RATING: 4 out of 5 Stars

Jedd Jong

Sucker Punch

 As published in F*** Magazine Issue #15, Apr 2011

SUCKER PUNCH

2011 Release

Starring: Emily Browning, Abbie Cornish, Jena Malone

Directed by: Zack Snyder

            Having made only film adaptations of existing material, director Zack Snyder takes the opportunity to break out something original before making Superman: the Man of Steel – emphasis on “original”. A balls-out fantasy action adventure, Sucker Punch promises to be unlike everything we’ve ever seen, but ends up being more hit and miss than a knockout.

            Babydoll (Browning) is sent to a mental institution by her wicked stepfather, after the death of her mother and sister. Her only escape is an imaginary realm (and several more within that), in which missions against dragons, alien robots, monster Samurai and zombie WWI-era German soldiers serve as metaphorical goals as she and four other girls in the asylum fight for their freedom.

            Snyder has made his name with hyper-kinetic slow-motion camerawork and a keen eye for larger-than-life action sequences. It’s a given then that Sucker Punch is a very stylish film, and the fantasy and action are indeed kicked into high gear. The production design is eye-popping, the computer-generated animation work of high quality and the action itself pretty wham-bang.

            As such, it’s a big pity that all this is in service of what is pretty much a non-story. The Inception-styled world-within-worlds conceit, combined with the old-fashioned 50s asylum and brothel elements, make this quite a high concept that never quite takes root. The plot and characters quickly become reduced to little more than excuses to string the video game-style fantasy sequences together.

            The five girls are easy on the eye, but the characters are hardly distinguishable and with one or two exceptions they seem interchangeable for each other. Abbie Cornish is mostly flat and unlikable, Emily Browning in a constant daze. There’s something of a novelty factor in seeing High School Musical-alum Vanessa Hudgens in an action film, but not much more beyond that.

 Good thing that the supporting cast is decent – Carla Gugino hamming it up and enjoying herself as the Polish-accented Madam Gorski, Oscar Isaac sleazy and mean as asylum orderly/brothel-runner Blue and best of all Scott Glenn as the Wise Man, a character akin to Charlie in Charlie’s Angels who pops up in each of the fantasy realms to brief the girls on their mission.

Sucker Punch is more an experiment than a film, really, and “experiment-films” haven’t exactly had a sterling track record. An alien city straight out of Total Recall and a steampunk re-envisioning of the First World War are all well and good – if they do something, anything at all, for the story – which they don’t. A disparate patchwork that is in constant danger of falling apart, we wanted a cocktail with kick, but ended up with plain old fruit punch.

RATING: 2.5/5 STARS

Jedd Jong