Finally Saw BATMAN V SUPERMAN: DAWN OF JUSTICE on DVD....

You would think that a premise like this wouldn't be easy to mess up, but somehow, Batman V. Superman: Dawn of Justice is one of the messiest, most frustrating movies released this year.

Sad thing is, beneath it all, there are some underlying ideas that would make Batman V. Superman: Dawn of Justice a truly great movie. 

Note: I saw the "regular" version and not the Expanded 3 Hour Version. It's what the Chicago Public Library had available, and I wasn't going to complain. Plus, I argue that it's not the length, but the entire structure of the film that's flawed. 

Critics will point to Zack Snyder as being the main cause of the problem, but I'm going to delay finger pointing in that direction and turn my attention to the most basic element: the script, co-written by Chris Terrio and David Goyer.


It's easy to see why Terrio was brought in to collaborate with Goyer: Argo had a clever mixture of pop-culture knowingness with a smart take on the classic heist/caper formula. But Goyer....give his scripts a good director (like Blade, Batman Begins and The Dark Knight Returns, and you have films where visual inventiveness trumps some of the more overt plot holes. With a less talented and/or more tired director, you end up with Ghost Rider: Spirit of Vengeance. Or The Dark Knight Rises (trust me, it's not as good as many people think).

And Batman V. Superman has a very bloated script, as if under executive order to include as much continuity as possible. Things the movie could - and should - have rethought (and I'm spoiling away):

• Removing the obligatory "origin" footage from the initial prelude - and inserting it closer to "that" scene - would give it more emotional resonance
• Second scene - most professional photographers use either digital or hybrid cameras. Just sayin'.
• Kevin Costner's cameo as Jonathan Kent - should have been a flashback, not a near-hallucination.
• Lois Lane should never be used as a plot device. She should be a person.
• I should not be surprised when I started thinking, "I've watched episodes of Smallville that were more plausible"
• That whole third act with Doomsday - get rid of Doomsday. Seriously? Must you indulge Snyder's comic fetish?

I'll say it before and I'll say it again - Zack Snyder is a poor director. He's good at creating small moments and action sequences (especially if they're direct riffs from comics, like Watchmen and 300), but his narrative abilities seem more like a ten-year-old bashing action figures together and filming it with his iPhone while downing bottles of Mountain Dew: Code Red. Rather than fill in the cracks, Snyder's lack of narrative ability make the script's flaws even more overt.

And there's a great idea within the script - the world's (self-perceived) smartest man tricks a human champion and an alien newcomer to battle. Light vs. dark, God vs. man, human vs. alien - there is so much that Batman V. Superman could have done well. But unfortunately, in a mad dash to be an intro to an entire cinematic universe, the filmmakers forgot the one key ingredient for box office success: a good story.

The other key ingredient - which Batman V. Superman sorely lacks - is strong acting. Calling Henry Cavill "wooden" would be a compliment, and unlike Man of Steel, Kevin Costner gives the movie the performance that it deserves. Unlike other comic fans, Ben Affleck is not my ideal Batman - too pouty, like the middle schooler who suddenly discovers their older sibling's Cure records. And I wonder if Jesse Eisenberg and Jared Leto decided to switch acting notes - although he has played the "I'm-aware-I'm-the-smartest-one-in-the-room" schemer, Eisenberg chooses to go manic (while Leto in Suicide Squad seems somewhat restrained in his performance).

OK, I'll admit - I enjoyed Gal Gadot's performance as Diana Prince/Wonder Woman, and really enjoyed the action sequence at the end. Unfortunately - and I know I'm in the minority - I felt like Snyder treated her more like a "hawt babe in leather" than "a character in her own right". She redeems the movie...but only after two hours and fifteen minutes of a great mess.

By now, you've probably already seen Batman V. Superman and have an opinion. However, given the current fan climate around movies - the idea that movies must be "made" specifically for our tastes; that not liking this version is somehow irrelevant; and that we have "ownership" of media properties - there is a distinct lack of critical thinking. In short, having an informed opinion seems less important than having "the feels."

Batman V. Superman gives me the "feels"...but mostly due to how this could have been a great movie...but ego, ineptitude, and a lack of clear vision messed it up.

Given the potential reaction to this point....don't be surprised if I never review the new Ghostbusters.

THE DEATH OF SUPERMAN LIVES - A Review

To be completely honest, I'm not quite sure how to feel about The Death of Superman Lives: What Happened?, the documentary which focuses on the unmade Tim Burton/Nicholas Cage 1990s Superman film.

On the one hand, it does a good job as a documentary focusing on the effort and thought behind the development of the film. The Death of Superman Lives shows great insight into the development process....as well as the reason why the film may not have been made. (SPOILER - Warner Brothers had a series of big-budget flops, making them very uneasy about the film's potential). It also helps that Tim Burton provides some insight into his own process....and there's plenty of great (and rarely seen) behind-the-scenes footage that makes this a really strong piece of history....

....and yet, there's much about the film that is a bit off-putting, and that really made it a bit difficult to watch.

Much of it is the way that director Jon Schnepp inserts himself into the film - yes, he's doing all of the interviews, but it feels distracting and unnecessary. (And did we have to watch Jon Peters take a phone call while Schnepp watches, sipping from a bottle of water) Some documentary directors insert themselves as a way of providing an object viewpoint (like Morgan Spurlock) or because they were already part of the story (like Alex Gibney in The Armstrong Lie). Granted, this is a subject Schnepp feels worthy of exploration, but the movie felt at times awkward to watch...

...but the greatest issue I have with The Death of Superman Lives is that many of the participants reflect an attitude that's all too prevalent in fan culture: the attitude of Wouldn't this have been cool?

To be fair, part of the attraction of this documentary is that, like the documentary about Richard Stanley's attempts to adapt Island of Dr. Moreau), The Death of Superman Lives shows how people working on making a film engage with their work with great passion. However, despite the obvious feeling of loss, there is a sense that those involved felt more about the "coolness" of what they were doing that they lost sight of any themes, story, etc. In short, it was the 1990s equivalent of current fan engagement (just pop into Facebook and read any review of Star Wars: The Force Awakens if you think I'm wrong).

As far as whether a Nicholas Cage-led, Tim Burton-directed Superman movie would have led to a series of films....unlike many other reviews, I don't automatically believe that would be the case. Given much of Burton's post-Batman approach to film making (take a beloved franchise, make it about a quirky outsider, and throw in tons of art direction), I think his Superman Lives would be seen in the same light as his "re-imagining"of  Planet of the Apes.

Despite its flaws, though, The Death of Superman Lives provides greater insights into the mechanics of big budget movie making - as well as overeager ambition - than it disappoints. Definitely worth seeing.

SUPERMAN: THE UNAUTHORIZED BIOGRAPHY

This past year has seen a plethora of celebrations - you have all of November to see one pop culture franchise's anniversary, but the 75th anniversary of Superman has also been prominent. (And I would like to protest that we should have seen more for Doc Savage's 80th, but there you go). Much like Larry Tye's book about the character, Glen Weldon's Superman: The Unauthorized Biography is a really interesting exploration.

Now, it's a much different take and tone on the character - thankfully, Weldon's book feels much more thorough in exploring some of the more interesting aspects of Superman's development. (However - and maybe this comes from Weldon's co-hosting duties on NPR's Pop Culture Happy Hour podcast - there seems to be some moments where the humor is overplayed; Weldon's fascination with Superman's mullet seems a little gratuitous). It is much more thorough, including the syndicated Superboy series of the late 1980s, as well as some of more interesting side treks. (Any book that focuses on Superpup really can't be all that bad).

Now, this is not a bad book by any means - it's actually witty, engaging, and hits all of the familiar marks. In short, it's worth reading alongside Larry Tye's Superman: both books provide a well-balanced take on Superman in comics, television, movies, etc. As someone suffering a bit of burnout over a favorite franchise with an anniversary in November, reading this book was a welcome relief as Weldon attempts to explore the character in historical context....but does so with a well-needed sense of perspective and humor. It's a great, breezy read, and is well worth exploring.
Definitely worth your time....but be sure you fit in Larry Tye's Superman as well. Both books in tandem (and it doesn't matter which one is read first) provide a thorough explanation of the Man of Steel.

Yes, It's *That* Superman Video. But It's Awesome.

Public Domain Drive-In: Superman (Follow-up)

A few years ago, I had written about the Max Fleischer Superman Cartoons being available via public domain. However, recently Cartoon Brew had announced that Warner Brothers posted some remastered, high quality versions via You Tube.

In an effort to create some cool content - and for your viewing pleasure - here's a small sample:

Happy Veteran's Day, Everyone!

Happy Halloween!

In honor of this year's Halloween, my often-posted screencap of Monty Python's Terry Jones as Superman:

Because I never get tired of posting that.

The Laura Siegel Brouhaha

Recently, there's been a lot of commentary made about the open letter Laura Siegel Larson wrote to fans about the continuing litigation against DC around the family's rights to Superman -  much of it from current, presumably younger fans about how "greedy" her family has been.

(And admittedly, I cannot honestly say that I haven't stirred the pot somewhat with my own comments).

Rather than repeat the usual argument - that Siegel and Shuster had no way of "knowing better" - let's look at this through a modern context.

First, with all of the excessive lawyers' fees that DC is paying, it would have been much easier (as Ms. Larson suggests) to simply pay the families of both creators. After all, it is not as if Siegel and Shuster's efforts did not pave the way for DC's success, nor is it wrong to suggest that any person who works hard and creates something profitable should benefit from those efforts.

Looking at DC's representation - and their efforts to discredit Larson's attorney - are more than slightly offensive; it borders on unethical. It is one thing to try the case in the "court of public opinion"; it is another to make claims that have very little basis in reality. I can understand DC's need to protect its copyright, but it smacks of stories about how lawyers walk through conventions and prevent artists from doing licensed characters as commissions. At some point, doing the right thing can be more advantageous than efforts to avoid doing the right thing.

And yes, more rabid fans drive the controversy home by pointing out the "greed" of both families - whatever their intentions (and despite my earlier comments, let's assume the best of those intentions), they have a legal right to make claim over the benefits of their forebears' efforts. After all, we have a presidential candidate who has benefited from being part of a powerful political family, a real estate mogul in New York who built his own empire on his father's financial successes....wouldn't it be fair and right for other families to benefit in a similar way?

My position is clear - Siegel and Shuster were the victims of slightly devious business practices, and although they received some compensation, DC had to essentially be shamed into doing the right thing. So my advice - both sides sit down, work out a reasonable agreement, let the court case go, and move on.

If that isn't truth, justice, and the American way, I have no idea what is.....

The Biography of Steel

OK, I admit it, I have a love/hate relationship with serious attempts to examine pop culture and its impact on mainstream culture. I'm finding that several times which include "....and Philosophy" in their title are geared more towards the hardcore philosopher than, say, the casual reader.

(I've had enough philosophy in college to really mess up my thinking, to paraphrase Steve Martin).

On the plus side, I really enjoy Sequart's work (currently making my way through Teenagers of the Future via Kindle Cloud Reader). And the most recent "hardbound" book I've read - and thoroughly enjoyed - is Larry Tye's Superman: The High Flying History of America's Most Enduring Hero. 

Think of this book as a more fact-based, in-depth, text version of the 2007 documentary Look, Up in The Sky, focusing on the history of the character, but also providing some of the historical backdrop behind the character's creation. (Think of it as having a little bit more heft than Gerard Jones' Men of Tomorrow, which focused more on comics in general). Thankfully, the book does focus on the travails and experiences of Siegel and Shuster, but does so in a much more open-minded, honest way. (Neither man is necessarily portrayed as a saint, and in reading some of the details around past rights' violations and current  litigation....well, it shows that both sides may have acted less-than-pristinely.)

My only complaint? The book feels way too short. Granted, not much happens after the Byrne-era reboot (only the Death of Superman, the Lois and Clark show, and Superman Returns), but there seems to be more story there. Of course, that may just be my own frustration that the book seemed to end too soon.

Very highly recommended.

Happy (Belated) 100th Birthday, Lucille Ball

Now with gratuitous Aunt Harriet cameo:

From Starman To Superman

I've not kept my appreciation of James Robinson's work in comics (especially Starman and The Golden Age) a secret - I've always enjoyed his deft touch with characters, his literate scripting, and his ability to create a rich, touching atmosphere. I have to admit that I was a little less than enthused about Justice League: Cry for Justice , and his Superman work seemed....well, it felt (to me, at least) like he was finding his feet.

This week, two books show that Robinson is starting to regain his strength....or more accurately, they're beginning to feel like Robinson's writing.

First, believe it or not, I have to give major props to Robinson's work on Blackest Night: Superman. Granted, I am enjoying Blackest Night, which is zombies who will mess with your head (unlike Marvel's more cliche, er, I mean, "traditional" approach). It's structured much like a traditional horror/slasher movie, and in this context, it works. In fact, Eddy Burrows' art really helps sell it, and there's one little touch with color that I thought was nice.

(But Mr. Robinson...didja have to do that to Krypto? I mean, come on, it's ok to do rude things to Beppo the Super Monkey, but Krypto? OK, I get it, things are serious, but still, Mr. Robinson, you're breaking my heart)

But Robinson comes into full form in Superman Annual # 14, which talks about the background of Lar Gand, aka Mon-El, whose history (much like fellow hero Power Girl) has been rebooted, revamped, revised, and reestablished multiple times. I'm surprised that, in the future of the Legion of Super-Heroes, there aren't a multitude of urban legends about Mon-El....

...but I digress.

This comic demonstrates Robinson's greatest talent - finding the hidden nuances behind a character, or even creating unique aspects to a character. This issue is no different, but it adds so many layers - how Kryptonians and Daxamites are similar. Some of the mythology of both Krypton and Daxam. Some of the players involved, and the circumstances around how Mon-El left Daxam.

But the last page? If it doesn't break your heart (in a good way), you lack one.

Good to have you back, Mr. Robinson.

Public Domain Drive-In: The Ballad of Hugo Danner

A little change of pace - although normally, I feature movies when I write about the public domain, I wanted to change the pace and feature a book that...well, much like Doc Savage, has had a major impact on popular culture, in more ways than can be counted.

That book is Philip Wylie's 1930 novel Gladiator. It would be easy to see it as an "early draft" of Superman (allegedly, both Siegel and Schuster were "inspired" by the novel, but there's nothing that can be proven in court). However, this is one of those books that, upon rereading it, seems especially prescient, not only foreshadowing current super-powered television series, but also providing an almost prescient forecast of contemporary culture.

Hugo Danner is the result of experimentation by his scientist father upon his pregnant mom. Hugo, as a result, is indestructible, has great strength, and quite frankly...leads a relatively complicated life. No matter what happens, happiness always befalls him, and this actually (as I have read in other articles) parallels Marvel comics' themes - that of the super-powered outsider, using their gifts for good, but with little recognition. In fact, the kind of "perverse celebrity" theme prevalent throughout the book seems relatively at-home in our modern time. In fact, Howard Chaykin and Russ Heath adapted the book as the four-issue Legend mini-series for Wildstorm back in 2005...and moved towards the latter half of the 20th century, only the ending seemed a little hackneyed. (In the 1930's, it would have had a pulp-flavored sense of irony; now, it seems a little trite. And no, I won't spoil it for you)

But this is one of those books that, regardless of whether you are a comic, pulp, or science fiction fan, you simply have to read. Thanks to the miracle of public domain, you can download and enjoy it for yourself.

Highly Recommended.

Download GLADIATOR from the Internet Archive

Public Domain Drive-In: Fleischer Studios' Superman

And now, a brand new feature to the blog - with April 15th coming up, and in these rather tough economic times, it means that we all have to tighten our belts.

In that spirit, I am announcing the new, semi-regular "Public Domain Drive-In" - that is, films and other materials of interest that are in the public domain. It would be easy to find obvious trashy stuff to feature (like Plan 9 from Outer Space), but this is more about the treasures - things that might not be as well-known, but thanks to sites like Public Domain Torrents and the Internet Archive, will be released for you, the reader, to enjoy.

(When possible, I'll also try to find ways to embed the videos in the post - that way, you can watch at your leisure. Our first entry is a little tricky, but rest assured - my job is to help you gain access).

Our premiere piece focuses on Superman, whose copyright has been recent news. These are the famous Fleischer Studio cartoons from the 1940s - these are the toons that served as the basis for the art style of Bruce Timm's later work on Batman: The Animated Series, and stylistically, are extremely impressive - the plots are basic WW2-era plots (mad scientists, saboteurs, etc), but watching them just to enjoy the artwork...is a real pleasure.

So, you may be asking yourself - since DC had owned Superman, how could these cartoons be in the public domain? Wikipedia has a great explanation of the circumstances, and these cartoons have been released...repeatedly. Much of it is through cheaper editions, but higher quality (though more expensive) editions still exist. Plus, a key note to consider when watching: there are some very strong tendencies towards sexism and (more appropriately) racism - granted, it's an emblem of its time, but these are best viewed one or two cartoons at a time.

So, welcome aboard, and in future installments, we'll see a great classic of screwball comedy, a conspiracy picture 30 years ahead of its time....and a lost science fiction film that's excellent, except for its final line.

Download Information:

Superman Fleischer Cartoons on Google Video

Superman Festival - Torrent Downloads

Superman Festival - Internet Archive