What? You thought Bane deserved all the credit?
In the past few months Warner Bros has been on a charm offensive, as far as the movies of their DC Extended Universe go, but I’m not buying it.
Another thing I’m not buying are those people who claim that what is preported to be a lighter tone for the upcoming Justice League movie was in the cards all along.
Reason being, Man Of Steel took itself way too seriously. Batman V Superman: Dawn Of Justice upped the ante on dourness, if that were even possible–while working with a story so nonsensical that a bit of levity would have made the whole thing that much more palatable–and now I am supposed to believe that all of a sudden Zach Snyder realized that Superman is based on comic books (that were originally meant for children), and not an object of Ayn Rand’s Objectivism?
The more likelier explanation is that Warner Bros executives saw that the DCEU movies with Zach Synder as architect–while not box office failures–were severely underperforming (that you could put three of the most iconic superheroes in the same movie and can’t reach $900 million at the box office, never mind a billion, is the proverbial canary in the coal mine) so something had to be done.
And what that seems to be is an demotion of sorts for Snyder, in two ways. The first is that Ben Affleck was appointed as executive producer on the upcoming Justice League, and apparently is very influential over what happens on screen. And perhaps more importantly, Geoff Johns and Jon Berg were made co-presidents of DC Films, seemingly with a mandate to resort a sense of hope and optimism to movies sorely lacking such virtues.
My problem is that I am reaching Transformers levels of frustration with the movies of the DCEU (something Suicide Squad by no means changed) so for me it might be a little too late.
And it’s worth mentioning that I have given up on the Transformers, and refuse to see them in theaters.
Of course the production isn’t (though the headline probably grabbed your attention, if only because it’s so asinine) though it’s shaping up to be a particularly troubled one.
First, Seth Grahame-Smith left due to ‘creative differences’–a term that is so vague that it could literally mean just about anything–now according to Comicbook.com his replacement, Rick Famuyima, has left the production for the very same reason/non-reason.
If DC Films/Warner Bros and settle on a director that they’re creatively in sync with then most people will forget this game of directorial musical chairs was ever played.
Though if the movie, when the question of whom will direct is settled and it’s released, that is, either tanks or underperforms people are going to point to the defections of Grahame-Smith and Famuyima as early signs of a troubled production and the first cracks in the supposedly director-focused approach of Warner Bros Pictures.
Lucy Besson, while a visually sumptuous director, is not a terribly original writer–which may have a little to do with him settling with John Carpenter over his 2012 movie Lockout, which was essentially Escape From New York aboard a space station.
Lucy, directed by Besson in 2014, fared particularly well financially, though many considered the story (about a woman, played by Scarlett Johansson, who though a mysterious drug gains the ability to unlock the unused potential of the human mind and gain god-like powers) as particularly dopey.
He’s back in 2017 with Valerian And The City Of A Thousand Planets–a title that on its face doesn’t make sense–that’s based on a French comic series by Jean-Claude Méziéres.
I hope it does well mainly because many European comics don’t get nearly the recognition here that they do there, and it would be good for people to expand their knowledge of such things beyond what we see presented by Marvel Studios and DC Films.
As you can tell from the trailer above, one of Marvel Comics’ Ghost Rider’s (there have been at least three or four variations on the character) is making an appearance on Marvel’s Agents of S.H.I.E.L.D.
and honestly I am not sure what feel about that.
Reason being, unlike over at DC Films and DC Television (I assume that that’s what their television arm is called), Marvel Studios and Marvel Television have been acting in somewhat of a coordinated fashion, so the groundwork for something like a flaming demon and his hellfire-spewing car doesn’t quite have a precedent (and I get the whole ‘magic is just scionce that’s slightly beyond our understanding’ sort of stuff, though this is a whole ‘nother matter) just yet or until Doctor Strange premieres this November.
Hopefully the series will make things a bit clearer.
I think that Warner Bros, possibly with the exception of the upcoming Suicide Squad is terribly mismanaging their DC Films relationship (and Yes, I include the upcoming Wonder Woman in that estimation as well)–like Fox is doing with the X-Men franchise, only less successfully.
But Antoine Fuqua’s The Magnificent Seven? With Denzel Washington and Chris Pratt?
Money in the bank.
And sure, it has nothing to do with DC Films, but considering how mediocre Batman v Superman: Dawn of Justice did, they can use any help they can get