Ah BvS. I think people were made so uncomfortable by the realness of the "Martha" scene that they've reflexively turned it into a joke. I guess it's some weird in joke that flies over my head when people say Batman and Superman became best friends because their mother's had the same name. It's clearly not what happens in the movie. Batman is triggered when Superman repeats his father's dying words and has a PTSD response which Affleck nails perfectly. It's about a guy that's so sure of his moral authority, sanctimony, and self-righteousness that he feels justified in murdering another being only to find he's becoming everything he hates. That applies to fucking almost everyone right now.
I think the scene works fine in terms of thematics, it's just Affleck's acting is a little over-the-top in that moment and (unless we know for sure that Clark knows the first name of Bruce's late mother) it makes little in-the-moment sense that he would shout about saving "Martha" as opposed to "saving my mother." I have issues with the film (less so the extended cut which makes it more of a Clark/Bruce two-hander) and it would have worked better as an ElseWorld versus a would-be franchise "starter," but I think that moment became a quick symbol for general dissasfication, like "Egad, Bryce runs while in heels!" for Jurassic World (a film which I will defend unto death) or "Superman murdered Zod!" in Man of Steel. Those moments are valid within the film, but they become buzz points for films that just didn't work for a broader or more complicated set of reasons.
Fair enough. I'll concede that his saying "Martha" specifically in that moment is contrived but I feel the whole film is pitched at such an operatic register Affleck's performance works perfectly for me (the one justification I can think of is that Clark doesn't want to say "my mom" because it might reveal his secret identity but that's a tortured justification). It's why I like Snyder's take in general since everything is cranked to 11, he just know how to modulate at all, which is why Rebel Moon Part 2's exposition parade was so hard to sit through since every story was told in such a grandiose way it became repetitive and plodding. That action climax though. Really its the action where he shines.
MAN OF STEEL is the frusterating one, because it's visually spectacular with a strong sense of realism/grounded Malick-ian meloncholy and absolutely brings the thunder in terms of spectacle and melodrama. It just needs one quick rewrite which A) makes Clark's decision about being "publically Superman" less draconion than "Well, if I don't then the world will end" and B) has anyone other than Clark (or maybe Lois) be the one to touch the button that brings Zod to Earth. Then the carnage that Zod inflicts is not directly due to Clark's actions per-se. Ironically, I had the same issue with Age of Ultron, whereby Tony comes within 30 seconds of accidentally killing the world and everyone just shrugs and smiles at the end.
Yeah that era of comic film's urge to recreate 9/11 led to a lot of stories with cavalierly high civilian body counts. And it was weird in Endgame when Tony seemed to still think Ultron would have been a good defense against Thanos.
Ooooh questions. I got to think of something good.... Something... Ah yes, do you think James Gunn's horror-based approach to Chapter 1 of the DCU aims to fill a niche Marvel hasn't been able to fill due to the troubled production of Blade? Something like that I guess.
Honestly, I think Walter Hamada's reign (at least prior to COVID and HBO Max) was very much leaning into kid-friendly horror, partially because you had folks like James Gunn, James Wan and David Sandberg at the helm. SHAZAM (my favorite post-DARK KNIGHT dc comics flick, period) is probably the closest one of these mainstream DC/Marvel films have come to full-on Amblin-scary horror movies, which is one of the reasons I think it works so well. It's a lot of things (a foster care melodrama, a fantastical horror film, a superhero origin story, etc.) and does all of them "full tilt."
(But I will still read this one during the next episode if you want their opinions).
Village got a beating for no reason I have to watch lady agin to see I remember liking some good scenes
Split I liked glass was boring.. I’m 100% a village guy along with sings and sixth
Hated old thought the acting was really bad loved knock at the cabin though! Can’t wait for trap! Hopefully it’s good
Ah BvS. I think people were made so uncomfortable by the realness of the "Martha" scene that they've reflexively turned it into a joke. I guess it's some weird in joke that flies over my head when people say Batman and Superman became best friends because their mother's had the same name. It's clearly not what happens in the movie. Batman is triggered when Superman repeats his father's dying words and has a PTSD response which Affleck nails perfectly. It's about a guy that's so sure of his moral authority, sanctimony, and self-righteousness that he feels justified in murdering another being only to find he's becoming everything he hates. That applies to fucking almost everyone right now.
I think the scene works fine in terms of thematics, it's just Affleck's acting is a little over-the-top in that moment and (unless we know for sure that Clark knows the first name of Bruce's late mother) it makes little in-the-moment sense that he would shout about saving "Martha" as opposed to "saving my mother." I have issues with the film (less so the extended cut which makes it more of a Clark/Bruce two-hander) and it would have worked better as an ElseWorld versus a would-be franchise "starter," but I think that moment became a quick symbol for general dissasfication, like "Egad, Bryce runs while in heels!" for Jurassic World (a film which I will defend unto death) or "Superman murdered Zod!" in Man of Steel. Those moments are valid within the film, but they become buzz points for films that just didn't work for a broader or more complicated set of reasons.
Fair enough. I'll concede that his saying "Martha" specifically in that moment is contrived but I feel the whole film is pitched at such an operatic register Affleck's performance works perfectly for me (the one justification I can think of is that Clark doesn't want to say "my mom" because it might reveal his secret identity but that's a tortured justification). It's why I like Snyder's take in general since everything is cranked to 11, he just know how to modulate at all, which is why Rebel Moon Part 2's exposition parade was so hard to sit through since every story was told in such a grandiose way it became repetitive and plodding. That action climax though. Really its the action where he shines.
"That's how it starts, the fever, the rage, the feeling of powerlessness that turns good men...cruel."
MAN OF STEEL is the frusterating one, because it's visually spectacular with a strong sense of realism/grounded Malick-ian meloncholy and absolutely brings the thunder in terms of spectacle and melodrama. It just needs one quick rewrite which A) makes Clark's decision about being "publically Superman" less draconion than "Well, if I don't then the world will end" and B) has anyone other than Clark (or maybe Lois) be the one to touch the button that brings Zod to Earth. Then the carnage that Zod inflicts is not directly due to Clark's actions per-se. Ironically, I had the same issue with Age of Ultron, whereby Tony comes within 30 seconds of accidentally killing the world and everyone just shrugs and smiles at the end.
Yeah that era of comic film's urge to recreate 9/11 led to a lot of stories with cavalierly high civilian body counts. And it was weird in Endgame when Tony seemed to still think Ultron would have been a good defense against Thanos.
Ooooh questions. I got to think of something good.... Something... Ah yes, do you think James Gunn's horror-based approach to Chapter 1 of the DCU aims to fill a niche Marvel hasn't been able to fill due to the troubled production of Blade? Something like that I guess.
Honestly, I think Walter Hamada's reign (at least prior to COVID and HBO Max) was very much leaning into kid-friendly horror, partially because you had folks like James Gunn, James Wan and David Sandberg at the helm. SHAZAM (my favorite post-DARK KNIGHT dc comics flick, period) is probably the closest one of these mainstream DC/Marvel films have come to full-on Amblin-scary horror movies, which is one of the reasons I think it works so well. It's a lot of things (a foster care melodrama, a fantastical horror film, a superhero origin story, etc.) and does all of them "full tilt."
(But I will still read this one during the next episode if you want their opinions).
Sure, I'll send it through the proper channels though.