Batman v Superman: Dawn of Justice (2016)

batman v superman

I was so excited to see this movie. I figured that — even if it didn’t blow my mind completely — it would still be extremely entertaining. But now, 24 hours after I saw it in beautiful RealD 3D, I still can’t believe how mediocre it was. The movie wasn’t necessarily bad… but it should have been so good. I mean, for shit’s sake, we’ve got Batman, Superman, Wonder Woman (the Justice League coming together!) — along with glimpses of The Flash, Aquaman, and Cyborg — as well as Lex Luthor and Doomsday in a single film directed by one of the most visually stunning directors of our time!! How was Batman v Superman: Dawn of Justice not an utter face-melter?!?

As it so often happens, the studio simply bit off more than it could chew, attempting to fit way too much story line and character development into a two-and-a-half-hour time frame. The end result was the same as it always is: an emotionally flat film with glossed-over plot points and shallow caricatures. (I understand that Wonder Woman’s story will be fleshed out in a stand-alone movie next summer, but that didn’t help me enjoy her role in Dawn of Justice last night.) And Zack Snyder (Dawn of the Dead, 300, Watchmen, Sucker Punch, Man of Steel), who I’ve always gone out on a limb to defend, seems to have finally lost control of the reins on the Warner Bros/DC Comics money-grab train. His gorgeous, colorful action sequences — usually done in slow motion — have devolved into incoherent, frenetically edited tornadoes of images that can barely be deciphered.

Personally, I don’t think I can keep watching these big-budget mockeries of my favorite superheroes, especially considering the fact that DC Comics has released 25 feature-length animated movies that are really cool! Why even bother with these lame live-action attempts anymore? Everything in Dawn of Justice, for example, had already been covered [better] in films like Justice League: The New Frontier, Wonder Woman, and Batman: The Dark Knight Returns.

I’m being particularly harsh on this movie because it honestly should have been better. The acting was fine — even Affleck and Eisenberg — but the trope-filled CGI action fails to impact its audience in any meaningful way. Roughly put: Warner Bros/DC should stop trying to be Disney/Marvel and just do its own thing.

Two pot leafs out of five:
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Batman v Superman: Dawn of Justice (2016)

Midnight Special (2016)

Midnight Special

Now, this is some refreshing sci-fi! Midnight Special starts in mid-stride, with two men hustling a cooperative young boy into the back of a ’72 Chevelle as an AMBER alert describing the trio blares in the background. The driver of the car then puts on a pair of night vision goggles, switches off the headlights, and tears off into pre-dawn darkness. It’s a badass opening sequence — and it all takes place before the title screen — but, thankfully, the movie doesn’t proceed on some mindless chase, full of gunfights, explosions, and unlikely scenarios. (That kind of faux sci-fi has been done to death.) Midnight Special instead takes the high road, adopting a deliberate, albeit slow, pace that eventually yields a unique, character-driven sci-fi/drama rather than another trope-filled sci-fi/action flick.

Writer/director Jeff Nichols, whose credits include Shotgun Stories, Take Shelter, and Mud, relies once again on Michael Shannon — one of the most interesting and expressive actors in Hollywood — as well as the American Deep South to tell a moving and meditative story. Taking cues from the sci-fi blockbusters of the 1980’s (Close Encounters, E.T., Starman, Cocoon), Midnight Special weaves together government agents, religious cult members, and a boy with seemingly “alien” abilities into an extremely suitable, though particularly subtle, tapestry. The script doesn’t spend much time explaining itself, and the dialogue doesn’t spoon-feed the audience any plot points. Viewers are forced to pay close attention if they want to put the whole story together, piece-by-piece. (And, as you surely know by now, I generally find that kind of “work” refreshing.)

Midnight Special is worth the slow ride because it ultimately pays off with an unforgettable conclusion, unlike any I can remember from the past two decades of cinema. With this film, Nichols’ certainly solidifies his status as one of the most fascinating (and uniquely American) writer/directors working today. (Actually, I tend to believe that he’s poised to excel in every way that his predecessors — directors like Terrence Malick and David Gordon Green — have failed. [Holler at me in the comments section if you need me to explain that rather brazen comment.])

Nichols is like that rare, good friend, who actually has very thought-provoking things to say, but never talks too much — and I’m really psyched to see what he does next.

Four pot leafs out of five:
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Midnight Special (2016)