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.
Sucker Punch (Warner)
There is no doubt that Zach Snyder’s Sucker Punch, the director’s first original script, is a mess of movie. Even the term “original” is a questionable description, as the wide range of influences define the film as much as his own pop sensibilities. Yet Sucker Punch was so critically derided that I think it’s been dismissed without really acknowledging the mad mix of inspirations or Snyder’s own blinkered passion for the project, clearly something that, for reasons he may not be able to articulate, he poured his creative energies into.
The vague mid-20th Century setting with a 19th century Gothic attitude and 1990s music-video stylings drops Baby Doll (Emily Browning) into a private sanitarium that looks like something out of the Batman movies. But before we have a chance to ruminate on this post-Dickens orphanage horror we are plunged into her fantasy of the place as a bordello prison fronted by a gangster (the head orderly, with a pencil mustache and zoot suit) in the flesh trade, with the Cuckoo’s Nest of pretty young inmates (Abbie Cornish, Jena Malone, Vanessa Hudgens, Jamie Chung) now dancers in the show, which is just part of the club’s entertainment. (The extended version on Blu-ray features an elaborate musical number that puts their chorus girl moves on display.)
But that’s just the first step down the rabbit hole of escapist fantasy. Under the hypnotic sways of Baby Doll’s magic moves, the girls are refashioned as jailbait stripper fantasies (all with exposed navels and a flash of thigh) and arm themselves with heavy metal artillery to take on one anachronistic video game scenario after another: a samurai rite of passage, a World War II mission against zombie Nazis, a siege on a castle of Orc-like beasts and dragons, a sci-fi odyssey against robot terrorists on a moon of Saturn. Because nothing says female empowerment better than little babydoll outfits and really big guns.
[published in conjunction with the blog seanax.com]
The world doesn’t need another Watchmen review. Everyone with access to a preview screening and a web page has already done one. The world is not short of opinions and the web doesn’t seem to differentiate between considered responses and emotional reflex put to words, though you can find some of the better ones here (thanks to David Hudson at The Daily @ IFC.com for wading through the onslaught to pick out the more interesting responses).
So this is not a Watchmen review. It’s a consideration of what the film is and how it got that way: perhaps the most faithful cinematic replica of a comic book experience every accomplished.
Here is my question: why would anyone want that? I have the graphic novel. I’ve read it a few times and can pick it up anytime I want to.
I go to the movies to be immersed, impressed, awed, engaged. Zack Snyder’s Watchmen feels like a film made to deliver a sense of comfort that everything is exactly as you remember from the graphic novel. The character stories and arcs are all there, along with the complex backstories and the alternate history of America. The signature images from the comic books are all on display: the marvelous costume designs (which in some cases evoke comic-book silliness and garish impracticality of yesteryear costumed heroes), Doctor Manhattan’s Mars Fortress of Solitude, Archie the Nite Owl’s ship. In an interview Alan Moore gave to Wired Magazine, he complained that no film could get the texture of Dave Gibbons’ artwork. Maybe, but I can’t image anyone getting closer.
Yes, Snyder streamlined the story and judiciously edited out certain subplots and side-stories (notably the “Tales from the Black Freighter,” which will be released on a separate DVD later this month and is promised to be returned to the DVD release â€“ though fans of the comic will notice that the news agent and the comic-book fan are present in a few shots). And he even dared to change the details of Moore’s original ending, twisting it with an insight so perceptive that one wonders if Moore would have done the same had it occurred to him, so beautifully does it wrap itself within the self-contained mythology and the character dynamics.