Batman v Superman: Dawn of Justice

The collective superhero fanboy universe has been holding its breath with just one question in mind: Will Ben Affleck be a Christian Bale/Michael Keaton kind of Batman, or will he be a Val Kilmer/George Clooney kind of Batman? Notice I didn’t mention Adam West? Well, you’ll be happy to know that Affleck fills the cowl nicely, although it is definitely a different caped crusader than we’ve seen before.

Eighteen months after the events of “Man of Steel”, we have a world divided. Congress, spearheaded by Kentucky Senator Finch (Holly Hunter) is considering the possibility that Superman (Henry Cavill) may be untamable. They begin to realize the godlike power he commands, and it begins to scare them. He still has a good heart, but the doubt wears him down to the point where he questions his own morality. Batman (Ben Affleck) on the other hand, is convinced that Superman is a ticking time bomb, and he makes it his personal mission to rid the world of even a glimmer of a threat to the safety of humanity. Meanwhile, Lex Luthor (Jesse Eisenberg) is capitalizing on the aftermath of “Man of Steel” and is doing his best Heath Ledger impersonation, and although entertaining, just isn’t convincing. The titans clash, Luthor stirs the pot, and Wonder Woman (Gal Gadot) makes a grand entrance in a battle with the indestructible Doomsday (CGI).

DC and Warner Brothers is in an arms race with Marvel and Disney for superhero supremacy, and DC has been losing despite the massive global (and critical) success of the recent Dark Knight trilogy. Batman has long been the most bankable of the legendary heroes, but the stakes are rising with the expanding Marvel universe. There’s only enough room for four or five superhero films per year, so DC needs to get more skin back in the game. There is a bloodthirst for superheroes like never before, and DC wants to get its movies made, pronto.

That’s the first problem I have with this film. They are in such a hurry to catch up with Avengers that they fast forward through the juicy character development. They even throw in some teasers for no less than three impending stand-alone films, in addition to the 2017 juggernaut, “Justice League Part One” which will follow “Wonder Woman”. As the opening credits rolled, we are treated to Bruce Wayne’s parents being murdered for maybe the fifth or sixth time on film or television, so I thought we were in for another reimagining of the origin stories. To my delight, we fast forward to a Batman on the decline. A man who has been jaded by Gotham for nearly twenty years, and he wears his bitterness on his face like a scar. Affleck nails the persona.

The second problem is something I’m more conflicted about. Zack Snyder. I can’t argue that he is a visionary director with “300” and “Watchmen” on his resume, but his best work to date has been “Dawn of the Dead.” His vision of the DC universe is just too metaphoric and ambitious. He would be an absolutely fantastic comic book writer, but for me, it just doesn’t translate to the screen.

My third gripe is that Superman is emasculated time and time again, which isn’t how the character rolls. He’s Superman. I’m sure the filmmakers realized this shortly into their endeavor and though they needed to even the playing field by making him more human, they made him a little too human. Lois Lane is his true Kryptonite, and his compassion for the innocent weakens him. Cavill is a terrific actor in the role, but his indomitable symbol of godly power is put into serious question here.

Did I like the film? Of course. Batfleck is a much more rugged, seasoned, and gritty than any of his predecessors, and he has evolved with the genre to a more violent and believable man; tormented by guilt and disdain for the wicked. He is a new breed of hero, like Jon Bernthal’s Frank Castle (Punisher) on Netflix’s “Daredevil”. See it. My point is, Batman is the highlight, everything else is pedestrian. I appreciated the ending, but would have liked to have been treated to some sort of teaser after the credits. With so much material being divulged, it’s a letdown to not at least put something in play for the next round of films.

Written by Chris Terrio (“Argo”, “Justice League Parts 1, 2”), the plot is implausible, even for superhero fodder. There is an obvious attempt to recreate some of the emotional appeal of the Dark Knight trilogy, but with super powers involved, it falls flat on its face. Caught between Chris Nolan’s brilliant vision of Gotham, and “Avengers”, “Batman v Superman: Dawn of Justice” is simply out of place. Is it awesome for fanboys and girls? Yes. Is it poorly done? Yes. It will do well regardless, and I will continue to see its spawn in spite of its flaws. 6/10.

10 Cloverfield Lane

JJ Abrams knows how to put together a film. With a team including Oscar nominated writer/director Damien Chazelle (Whiplash), and Oscar nominated writer Drew Goddard (The Martian), he has taken a $5 million budget and delivered the first truly must-see film of 2016 which will likely become one of the most profitable as well.

John Goodman delivers the performance of a lifetime as Howard, a doomsday survivalist who has prepared for the worst and created an underground shelter. Michelle (Mary Elizabeth Winstead) and Emmett (John Gallagher Jr.) find themselves sharing his space under different circumstances, and what transpires is both clever and original. Abrams is a master of secrecy, as is evident in his ability to keep “Lost”, “Cloverfield”, “Super 8”, and even “Star Wars” storylines under wraps until their release. “10 Cloverfield Lane” is no exception. The ambiguous previews throw out enough red herrings that a potential viewer is almost compelled to see what the buzz is about. Is Goodman crazy? Is it all a dream? Did the North Koreans nuke the world? Is it monsters or aliens? The range of uncertainty builds expertly to a slow boil until the climax, which is both unexpected, and I have to admit, a bit disappointing.

Let me explain. It is almost impossible to satisfy a cinematic appetite when there is so much anticipation, and that is why the journey gets an A, and the destination gets a C+. Because, simply put, there can’t be a satisfying conclusion any direction you choose. It’s no fault of the team behind the film, it’s actually a credit to their craftsmanship. It’s the first movie since last year’s “The Visit” that evokes the excitement and feeling that you just have to know what’s going on, and you can’t wait to find out.

Using classic and low budget suspense techniques, mostly using mysterious sounds and the pervading sense of the unknown, “10 Cloverfield Lane” is a trip down memory lane. The memory of a fun, popcorn-munching movie theatre experience where you are on the edge of your seat and almost can’t handle the discomfort of not knowing what is in store for the next hour and forty minutes. That is the hallmark of exceptional storytelling, and that is what is achieved here. The cast is just eleven people in all, and three of them are simply voices, including Bradley Cooper.

John Goodman has long been a favorite of mine. Ever since his days in “Roseanne” and “Revenge of the Nerds”, he has been the consummate journeyman actor. I could list off his stellar roles through the years, but we simply don’t have the time or space for that. Essentially, this is what I would consider his finest performance to date. He has lost considerable weight since filming this role, but the obese, heavy-breathing hulk of a man is intimidating and endearing all at once. It’s a confusing spectrum of emotions that he commands, and it makes me even more eager to see him in the role of the Judge in an Alejandro Inarritu directed version of Cormac McCarthy’s Blood Meridian. Never going to happen, but seeing how Philip Seymour Hoffman has left us, that would be movie nirvana for me.

The writers (Josh Campbell, Matthew Stuecken) and director (Dan Trachtenberg) are relatively new to the headlining game. Mostly they are experienced behind the scenes crewmembers (editing and lighting), but are certainly part of the Abrams/Chazelle/Goddard band of friends. This will be a great stepping stone to bigger and better things for the trio of them without a doubt.

The film is going to do well through critical reviews and word of mouth, and it is deserved. It gives an audience what is so often sorely missing; originality and good old-fashioned acting. I can’t say I loved the ending, but I relish the feeling I get when I am completely absorbed into a film while it is unraveling. Bravo to Abrams and his creative team for making a fun film. 8/10.

Zootopia

Zootopia is a not-so-subtle lesson in tolerance for the kids. A not-so-subtle reminder of existing bigotry for adults. What I mean by that is that the kids will love all the cute and cuddly animals with their quirky characters, celebrity voices, and stereotypical traits that match their species. The predators and prey intermingling without incident. This is the climate of Zootopia; a future world where diverse ecosystems connect into the urban city center. It’s a truly visionary look at what the world would be like if humans were animals. And animated.

Adults will recognize the dark tone of the film from the get-go. Racism, exclusion, inequality, and even some fox-bashing. The world on the screen is utopian because all animals can be whatever they want, even if that means being the first bunny police officer. Judy Hopps (Ginnifer Goodwin) is our purple-eyed hero who has the distinct disadvantage of being born a small woodland creature. A rabbit’s place is on the carrot farm, not in the big city fighting crime with the alpha species. Silly Hobbs. The collective doubt around her feeds Judy’s desire and so she finds herself in a hostile workplace as the only prey species in the crime fighting business.

What unfolds next is a good old-fashioned caper that the kids will find pretty entertaining. It’s a suspenseful but predictable ride to find out whodunit before it’s too late as Hobbs teams with the sly fox Nick Wilde (Jason Bateman). He really is a fox, so as two undersized, discriminated-against animals, they fight stereotypes to prove their rightful place in the animal kingdom. I know, right? Pretty heavy for a Disney cartoon.

I gleaned the humor where I could. Mostly from animals doing what animals do best. The sloths moving at a snail’s pace at the DMV, the relationship between the fox and rabbit. This may be an animated crime caper, but it’s also a buddy comedy. And a social justice lesson. And a cautionary tail (I mean tale). Idris Elba, JK Simmons, and Shakira lend their voices and names, but nobody really stands out in the sea of mammals.

Written and directed by veteran animators, there is nothing that jumps out at me as being great about this film, other than the teaser trailer scene of the sloth at the DMV. Bottom line is, it’s a cash cow. As I write this, projections are in the $70 million range for the weekend, which isn’t a bad haul. The animals are fun, but there are no characters that will resonate with kids in the future, and that’s something I always appreciate about this genre. You need an Olaf, or a Flounder, or Thumper. That would have really added something memorable. As I see it, the characters are all very one dimensional and there is nothing noticeably original about them. There was so much rich potential that could have added even more humor, but it didn’t go any deeper than necessary.
One legitimate complaint I have is the quality of the animation. I always notice that the industry darling Pixar tend to master the CGI and animation game, but you would think that a Disney film would benefit from some of that quality and innovation. There were numerous times when the transitions seemed a little sloppy and rushed, and I just wasn’t feeling like my keen eye was being challenged with grade-A quality animation.

I didn’t hate this film, but I didn’t enjoy it as much as I was really hoping to. Disney films are evolving with pop culture phenomena, and this is a perfect example as the writers clearly wanted the film to reflect the social climate. Unfortunately, I was kind of just hoping for, I don’t know, a Disney movie. The kids will love this regardless, and if you can set aside the deeper themes (which the writers do execute sharply by the way), you can definitely enjoy the cartoon animals running around like humans. 7/10.