The DCEU Finds Redemption

There a story on Superherohype where Ben Affleck says that the portrayal of Batman in Warner Bros/DC Films upcoming Justice League would be a more ‘traditional’ portrayal of the character.

What!?

The fact that Affleck has to tell viewers this is indicative of perhaps the greatest problem the DCEU has (yet) to overcome: namely a loss of support from their core audience, which are the people who grew up reading the comics these characters first appeared in.

Which is such a weird place to be because it’s a problem of their own making in that all they needed to do was to make their superheroes more faithful (I understand that no character translates wholly intact from the printed page to the movie screen but it’s almost as if Warner Bros wasn’t even trying) to how the characters appeared in the comics, then literally sit back and rake in the cash.

But if Man of Steel, Batman v Superman and Suicide Squad have shown us anything, it’s seemingly not quite that easy.

Or does it?  Maybe the greatest problem with the three aforementioned movies has less to do with their their fidelity to the source material (though that’s certainly there) than an attempt to be visually and esthetically different from Marvel Studios.

And on some level that’s understandable.  What isn’t is creating such an esthetically and morally unappealing interpretation of Batman and Superman (though what’s worse is that there’s nothing wrong with such portrayals per se.  It’s more a question of starting with a more traditional interpretation then have events turn the character dystopic–which was said, but never shown in reference to Batman).

That’s an important journey viewers would have not enjoyed embarking on, and would have shown the seminal events that resulted in a murderous Batman (something the character studiously avoided during for the bulk of time he has existed).

Wonder Woman–for the DCEU–is literally a game changer in that it not appears more faithful to the comics than the aforementioned movies, yet managed to appeal to both critics and the bulk of the moviegoing audience.

It may not have quite restored faith in the fledgling cinematic universe that is the DCEU

Valerian and the City of A Thousand Planets – ‘Space Is MAGIC’ – Trailer

Luc Besson is nothing if not ambitious and Valerian and the City of A Thousand Planets is his most ambitious feature yet, but I am concerned.

The movie, based on a French comic book written by Pierre Christin and illustrated by Jean-Claude Mézières, is likely unfamiliar to most Americans, which is likely why the director spends quite a bit of time in the trailer telling the viewer what it is they’re going to see, and what it’s  based on.

If I were promoting the movie in the United States I’d  bypass the origins of the characters–which domestic audiences are likely unaware –and instead concentrate on two things:

  • Spectacle

Valerian appears to be visually spectacular, as if Besson took the visual esthetic of The Fifth Element and combined it with Star Wars and Avatar.  Movies are all about diversion and this is an aspect that–in promotional materials–needs to be played up (it goes without saying that he movie itself will hopefully have a story that matches the visuals) even more than it is in this trailer.

Promise a visual experience like no other.  And sure, it’s likely not to be the case –I have seen few, if any, movies to actually live up to such hype–but it doesn’t stop movies from saying it, so Valerian might as well do the same.

  • Competition

Valerian cost somewhere between $170-200 million dollars to produce and while I expect it will perform strongest in Europe (where familiarity with the source material is likely greater) I wouldn’t discount it doing well in most international markets.

How well it does domestically depends upon when it is released, and perhaps more importantly, what it is released against.   It it performs (domestically) like Universal’s The Mummy, which had Wonder Woman to content with, then it had better do as well as that movie did internationally (despite not starring an actor with the international pull of a Tom Cruise) or there might be troubles for EuropaCorp (Besson’s production company, though the movie is released domestically via STX.).

Though if Valerian has a month or so alone (and there’s no Spider-Man: Homecoming waiting in ambush) competing with smaller releases it’s likely to do just fine.

Jaden Smith’s Batman

When future historians are studying what led to whatever atrocity Jaden Smith will likely commit in the future–I envision a Terminator/SkyNet-type scenario myself–this video will like rank high among the evidence of when Smith lost his mind.

Typically, when someone makes a video tribute/parody to Batman they make an effort to at least use costumes and things that attempt the mimic the feel, style and atmosphere that the character is best known for.

Not Smith though, who clearly marches to the beat of a different drummer.  The video isn’t by any means offensive, though his curiously rhythmless moves and stark white Batman-like costume–which must work on the idea of mesmerizing his opponents because stealth’s clearly off the table–is at least interesting.

Though what I wonder most about is who directed the video because there’s an odd, meandering, almost Parisian quality about it where things are emphasized, like a glass of water and a window Smith uses as a blackboard that appear to serve no purpose to the narrative other than to be weird.

Wonder Woman Looks to Smash Expectations   

Patty Jenkins’ upcoming Wonder Woman feature has a quality that’s shared with no other recent movie bearing the DC logo (and it’s not an opening projection that’s projected somewhere in the ballpark of $175 million worldwide).

The quality in question is its  Rotten Tomatoes score.

According to the aggregator the movie has amassed a 97 percent ‘Fresh‘ rating, which is HUGE because it tells you that the critics that have seen he movie so far like it.

And speaking of critics, keep in mind that as of the writing of this article that percentage was made up of only  66 reviews, so that number is likely to go down, though it shouldn’t be a huge percentage.

Which means that not only will Wonder Woman receive better reviews than either Man Of Steel, Suicide Squad or Batman V Superman: Dawn of Justice, but it’s quite likely that it will be the most profitable movie based on a female superhero ever.

At least till Marvel Studios’ Captain Marvel arrives on he scene.

Spider-Man: Homecoming – Trailer 3

Cutting an effective trailer is a strange mix of art and science and too much of either can ruin it.

And they’re more important than you think.

Part of what saved Suicide Squad was the  trailer, which (unfortunatel) made promises the movie itself didn’t quite live up to, was so well-received by movie goers.

By the same token, they can give away plot points that might better be left uNSAIDs (such as when Doomsday was revealed in the Batman V Superman: Dawn Of Justice trailer).

Though just so no one thinks I am picking on the DCEU, there was a scene from the first Avengers when the Hulk saves Iron Man, who’s falling after having ‘delivered’ a nuclear weapon to the Chtauri.

It wasn’t a spoiler but it did reveal a scene that would have been better served seen first in the context of the movie.

And speaking of ‘scenes that would have been better served seen first in the context of the movie’ the trailers for Marvel Studios/Sony Pictures Spider-Man: Homecoming haven’t crossed the line into spoiler territory, but they have revealed moments that would perhaps be better served by not beight first seen in the trailer.

Such as learning that Spidey’s uniform is filled to the gills with Stark-tech.


It doesn’t break the movie to learn this in advance–besides, hints were laid out in Captain  America: Civil War that this is not your father’s Spider-Man costume, so it wasn’t a huge reach.

THough it would have still been a pleasant surprise NOT to know about it ahead of time.

Conspiracy Theory – Justice League Edition

I don’t consider myself to be a cynical person, nor am I prone to conspiratorial thinking–though the ‘Single-bullet theory’ is so nonsensical you’d have to be an idiot to take it seriously–so, while I avoid looking at the world through rose-colored lenses, things aren’t all gloom and doom either.

So, when I heard that Zach Synder’s daughter, Autumn, had committed suicide in May, and because of the effect that had on him and his family, he decided to step down from completing directing DC Films’ upcoming Justice League feature.

And that makes sense because his daughter was only twenty when she died; making her death even more devastating because she never really lived. By way of further illustration, Roger Moore also died recently, though he was 89 years old.  We all have to go sometime and 89 years is a really good run, so it’s not like he was somehow cheated at life.

Joss Whedon–who will be directing a movie based on Batgirl, his first for DC  Films–stepped in to complete the movie.

Now he’s where the conspiracy comes in.  Originally Snyder was the guiding force behind the DCEU (DC Extended Universe), sculpting the entire look and feel of all the movies and–I assume–the primary person dealing with issues of continuity (crucial to movies that are interconnected).

But a strange thing happened: namely movies like Man Of Steel and Batman V Superman: Dawn Of Justice revealed that Snyder either barely understood either character–which is ridiculous, but at least understandable–or he understood both characters, only didn’t care enough to respect them and people expectations of them, which is in a way much, much worse.

So he began to be demoted in the sense that other people began to take a more aggressive role in overseeing his movies, such as Geoff Johns and Ben Affleck.

So, Zach Snyder needed a way to leave the DCEU gracefully and while I am not saying that Warner Bros had anything to do with the death of his daughter, other parties–including Znyder himself–may be using it to do what would be next to impossible otherwise.

The Defenders – Elektra Teaser Trailer

2017, despite the reality of a Trump presidency, and all the insanity such an idea beings can be considered a golden age –especially if you happen to be a fan of superheroes because there are probably more viewing choices to choose from than there has ever been.

The while the CW isn’t known as ‘The DC Network,’ it might as well be considering how many superhero-based shows are live there (There are also comic book-based television on Fox and NBC as well).

And while DC entertainment may have staked a claim on the network television stage, Marvel Television has made it’s strongest showing on Netflix, where series based on Daredevil, Jessica Jones, Luke Cage and Iron Fist have already aired, with more on the way (The Punisher, The Defenders and additional seasons of the already mentioned series’)

This is on top of the work Marvel Televisoon is doing for Freeform–formerly ABC Family) based on Cloak & Dagger and The New Warriors.

Like I said, there’s likely no better time to be a comics fan.