The smartest thing about Batman v Superman: Dawn of Justice – Ultimate Edition (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, 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 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.
[Originally published in Movietone News 60-61, February 1979]
People come up and they ask, “Is Superman any good?” The unspoken question seems to be: “Could they spend all that money and generate all that hype and fail to make anything but a dog?” The answer to both is Yes: the movie is a lot of fun, and the lot of talented people involved have managed to get a lot of their talent very enjoyably on view.
How satisfied you feel about Superman will depend in part on how readily you accommodate the idea of its partaking of three different, but provocatively counterpointed, styles. The first segment, a reel-or-so’s worth of film, deals with the last days of the Mighty Man’s native planet Krypton, an ice-mirror environment where the electric whiteness of Marlon Brando’s hairâ€”he’s Jor-El, father of Kal-El, the as-yet-unrenamed baby Supermanâ€”and the solarized, lucent whiteness of the costumes suggest both the abstract superiority (though not necessarily superior abstractness) of the race and the imminence of their burning themselves out. From Brando’s opening peroration before the grim, grey, titanic floating physogs of the other ruling elders, while three unspeakably depraved Kryptonians stand trapped within a shaft of light and a sort of perpetually self-balancing MÃ¶bius strip, this episode is stunningly visualized in audacious sci-fi terms, and a note of high sentence is convincingly sustained in the face of inspired preposterousness. (It is only after leaving the theater that one realizes the three monstrous villains, exiled to the blackest reaches of the universe via a genuinely disturbing special effect, have never been referred to again. As with the earlier Salkind superproduction, The Three/Four Musketeers, there is another part to Superman mostly in the can already; tune in next Christmas for the terrible vengeance of Non, Ursa, and the satanic General Zod!…) As a solar storm predicted by the all-wise Jor-El shatters the crystalline splendor of Krypton civilization, the elder dispatches his only begotten son in his own personal starship, complete with memory bank of instructive aphorisms to prepare the infant for life on Earthâ€”a backward planet, but a not-inhospitable destination for a healthy boy with such a dense molecular structure.