“Batman v Superman: Dawn of Justice” is facing a rocky start ahead of its Friday release. It holds a bleak Rotten Tomatoes percentage.
Maria Cavassuto writes: “Batman v Superman: Dawn of Justice” is facing a rocky start ahead of its Friday release. The tentpole has met with lukewarm reviews and holds a bleak Rotten Tomatoes percentage (which continues to change as more reviews roll in). The last installments fared far better for these caped crusaders, with “Man of Steel” holding a 56% Fresh rating and “The Dark Knight Rises” holding a Fresh 87%.
“I am gobsmacked by just how dull this movie turned out to be.”
— Mike Ryan of Uproxx
Although there are a few positive reviews for Zack Snyder’s film, most are calling out the film for its messy, less-than-spectacular promised clash of comic-book titans.
Variety‘s Andrew Barker says this epic standoff never develops fully, and instead “the life-or-death battle between the two icons ultimately comes down to a series of misunderstandings.” Barker also believes Henry Cavill’s Superman pales in comparison to “the winningly cranky, charismatic presence even when out of costume” of Ben Affleck’s Batman. Visually, the film is a win. For Variety’s full review, click here.
Eric Kohn of Indiewire echoes some of Barker’s points by calling this messy and “cacophonous” showdown “basically one long teaser for the next installment.” Kohn also pointed out that while the film “doesn’t lack for inspired visuals” because “it’s filled with motion-heavy sequences rich in light and color,” a good deal of the story “reeks of the usual routine.”
Peter Travers of Rolling Stone thought this was a step up from “Man of Steel” but nowhere near Christopher Nolan’s “Dark Knight” franchise. However, even though “Batman v Superman” is probably a dream for most comic-book fans, the “kick-ass revelation” is the “wowza of a Wonder Woman,” played by Gal Gadot.
“There was an over-inflated sense of how well this film could do. Its only chance now is to gain awards traction.”
— Jeff Bock, an analyst with Exhibitor Relations
The strikingly literate biopic about the Apple co-founder was brilliant she noted, but after Leonardo DiCaprio and Christian Bale passed on the title role, it lacked a major star, limiting its commercial prospects. In the end, Pascal, whose job was already threatened by a string of flops like “After Earth” and “White House Down,” couldn’t justify the risk.
Fast-forward nearly a year. Pascal is out of a job, “Steve Jobs” has debuted to rapturous reviews, and the film is a strong Oscar contender. It’s every bit as good as Pascal thought it would be, but the then Sony chief’s wariness also appears to have been entirely justified.
“Steve Jobs” was too brainy, too cold, and too expensive to make it a success. Moreover, Michael Fassbender, the electrifying Irish actor who replaced Bale as Jobs, lacks the drawing power to open the picture.
Too ‘brainy, too cold, too expensive’ to make it a success? Oh, please. I prefer John Nolte’s analysis:
Everything other than the father-daughter story is subplot, and this wouldn’t be terribly interesting even if it were true. But it’s not true. Sorkin made it all up. Also fabricated is the central conflict between Jobs and Wozniak. Missing is Jobs’ legendary ability to inspire greatness from those around him. Jobs was no angel, few successful people are, but this still feels like a smear job.
Basically, Sorkin used the name Steve Jobs and the historical beats of the man’s life to tell a fictional story about a bunch of rich white people, their personal problems and eccentricities and hang-ups….(read more)
After racking up the year’s best per-screen average in its opening weekend and doing strong business in limited expansion, “Steve Jobs” hit a stumbling block in its national release. It debuted to a measly $7.3 million, only a little more than the $6.7 million that “Jobs,” a critically derided film about the iPhone father with Ashton Kutcher, made in its initial weekend. Going into the weekend, some tracking suggested that the picture would do as much as $19 million.
So what went wrong?
Universal believes that the picture can recover. Studio executives note that it is popular in major urban markets like San Francisco and New York, and argue that the film’s A minus CinemaScore means word-of-mouth will be strong. If it can stay in theaters until Golden Globe and Oscar nominations are announced, they believe it can rebound.
“We are going to continue to support the film in the markets where it is showing strength and we’re going to continue to do it aggressively and proactively,” said Nick Carpou, Universal’s domestic distribution chief. “The critics are there for it and the buzz in these markets is strong.”
It’s still hard to see how the film turns a profit. Read the rest of this entry »
I saw this film about a year ago, and was impressed in a way I didn’t expect. Christopher Nolan‘s mega-budget films are legendary for their unlikely balance of collaborative Hollywood grandeur and singular creative vision — “Inception“, the Dark Knight Trilogy, to name a few — I was curious what his first feature, a modest, low-budget production, would look like. Because his movies are such precise, analytical, clockwork inventions, I admit, I hoped to see a rough, sketchy, incomplete hint of Nolan’s potential. I was wrong. Even on a shoestring budget, with a tiny cast, on his first outing, Nolan created a work that’s as complex and realized as anything that followed. It’s as though he emerged as a fully developed storyteller, focused, economical, and confident. It’s not a spectacular movie, but it’s original, well-crafted, and successfully maximizes its modest resources, to produce a film several steps ahead of the work of most first-time feature directors. Enjoy this review from FilmMunch.
FilmMunch writes: So I finally got the chance to watch Christopher Nolan’s first feature length film, and it’s undeniably fresh and what I would consider a must see!
It’s amazing that he’s able to generate such an intriguing story in only 70mins, which is by far, his shortest film, considering some of his films are just shy of 3 hours. Short and sweet, but what on earth is going on!?
Films that rattle your brain and chose to only show you the necessary bits are fascinating, because you want to keep watching and find out more. This story is no less fascinating than Memento, and if you’ve seen Memento, then you know what I’m talking about! Memento and Following, must be seen, at least once! The innovative story telling technique used in Following is something I want to see more, it’s basically a triple layered telling of events, very fascinating!
This film was extremely low budget, with film stock being the most expensive expense for the film, there wasn’t much room for error. Nolan would rehearse with his cast on the weekends, since all the cast had other full-time jobs. Only one or two takes were possible, considering Nolan was paying for the film himself! He also had to use natural light, since he didn’t have access to professional lighting equipment. Inspiration indeed, and what drive and motivation from this modern thinker!
The result is something akin to a Hitchcockian noir thriller, nothing short of slick and sophisticated. Read the rest of this entry »
The ending of ‘The Dark Knight Rises’ has left viewers with many, many questions. The biggest one being: Is Bruce Wayne/Batman really dead? Christian Bale has his take on his character’s fate. Click to LISTEN!
For the past two years, Batman fans have been pondering whether or not Bruce Wayne/Batman was alive at the end of The Dark Knight Rises. Alfred (Michael Caine) saw him (Christian Bale) sitting with Selina Kyle (Anne Hathaway), but it could have been the aforementioned dream that Alfred always wanted for Bruce. In a new interview, Christian offers his explanation on why Bruce/Batman was actually alive.
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