“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.
“This is one job he wishes was all a dream.”
Nolan and artist Tacita Dean, renowned for her art work in film, will launch LFF Connects, a new series of high-profile talks, with an in-depth conversation at London’s BFI Southbank on Friday Oct. 9. The conversation will be moderated by BFI Creative Director Heather Stewart.
“Film has characteristics integral to its chemistry and internal discipline that form my work and I cannot be asked to separate the work from the medium that I used to make it.”
— Artist Tacita Dean
LFF Connects is a brand new series of high-profile talks intended to stimulate new collaborations and ideas within the film industry by exploring both the future of film and how film engages with other creative industries, including television, music, art, games and creative technology. The series will be launched in partnership with American Express at the 59th BFI London Film Festival. 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 »
Colin Chocola and Benny Johnson write: Bruce Wayne, better known as Batman, is the world’s greatest detective. He protects his realm, Gotham, from criminals that range from street thugs, corporate cronies, and masterminds like Joker.
What’s set him apart from other crime fighters is his lifestyle which aligns with a distinct moral code. As Bruce Wayne by day and Batman by night, he shares the dual characteristics of a conservative and a libertarian, or more elegantly, ‘Conservatarian.’
[Check out Charles C. W. Cooke‘s new book: “The Conservatarian Manifesto: Libertarians, Conservatives, and the Fight for the Right’s Future” at Amazon.com]
National Review columnist Charles Cooke is the foremost expert on Conservatarianism and has recently published a book on the hybrid political ideology. Cooke thinks Batman is a hallmark example of a Conservatarian. He tells IJReview:
Nobody as mysterious as Batman could ever quite be pinned down into a political movement, but there is a great deal about him that is Conservatarian. Batman takes care of his own city instead of looking to the state, he does not permit wishful thinking to intrude on reality, and, like a model public servant, he shrinks from view when his job is done.
If the opinion of this expert is not enough for you, here are nine more, iron-clad reasons why the Dark Knight is inarguably Conservatarian.
Also see – Can Libertarians and Conservatives Coexist? An Interview With Charles C.W. Cooke – thefederalist.com]
1. Batman is an Industrialist Playboy
Bruce Wayne is a Capitalist. He is the sole heir to a multinational enterprise that specializes in everything from bio-tech to transportation. When re-entering the company as an adult, he quickly fires the crony board leaders, takes the company public and makes Lucius Fox the CEO. Wayne stands up for free enterprise, his companies produce products people want, he provides thousands of jobs and does it without heavy reliance on government. Forbes lists Wayne Enterprises, with revenues of $31 billion, as the 11th richest fictional corporation in the world.
Wayne also has no problem buying a luxury hotel so the models he’s with can swim in the lobby pool.
2. Batman is a Philanthropist
Conservatives are more generous than liberals. The Wayne fortune has funded Gotham’s hospitals, orphanages and its monorail system. Wayne Enterprise is a multinational operation, but its charitable focus remains within the limits of Gotham. Like other charitable conservatives, the Wayne Foundation took the initiative to aid the public’s need instead relying for the government to take responsibility.
3. Batman Manufacturers Military Grade Weapons, Is An Arms Dealer
Batman chooses not to use firearms, but manufactures and wields high-tech weaponry developed by Wayne Enterprises. “He is not seduced by utopian nonsense,” Charles Cooke says, “He needs to defend the innocent and will do so with force.” Along with employing his weaponry as a vigilante, Wayne also signs contracts with the U.S. military for advanced technology and weapons development. Read the rest of this entry »
Nolan’s early take on the ending, however, essentially cuts Cooper off inside the black hole…
Entertainment Weekly‘s Jonathon Dornbush writes: If Interstellar’s ending didn’t quite sit right with you, co-writer Jonathan Nolan may be able to help. As he recently revealed, the film’s original conclusion would have been much simpler—albeit way more depressing as well.
Nolan detailed the screenplay’s first ending at an event ahead of the film’s Blu-ray release in Pasadena, California, alongside scientist Kip Thorne, who served as a producer and science adviser for the film. As Nerdist reports, Nolan told a crowd at the Caltech Jet Propulsion Lab that he originally planned a much different conclusion for Matthew McConaughey’s Cooper.
“Instead of this bleak finish, Interstellar ends on a much more hopeful note—even if many have taken issue with how Nolan sacrifices scientific accuracy for a more emotional conclusion.”
In the final film, Cooper travels through the black hole Gargantua, surviving the trip and ending up in a “tesseract” space where he’s able to see—and in some bizarre ways, interact with—his past. This revelation allows him to send a Morse code message to his daughter Murph, which sets the film’s final events into motion.
Nolan’s early take on the ending, however, essentially cuts Cooper off inside the black hole. His script “had the Einstien-Rosen bridge [wormhole] collapse when Cooper tries to send the data back.”
The wormhole falling apart would have prevented Cooper from returning home or interacting with the tesseract, which, according to Nerdist, was director Christopher Nolan’s idea. Instead, his journey would have ended there, with Cooper sacrificing himself in the name of his cause. This also would have prevented much of the finished film’s concluding events—Cooper’s return trip, rediscovering his daughter, and stealing a ship to search for Anne Hathaway’s Amelia Brand would never have happened. Nolan does not mention, however, whether in that original ending, the data Cooper is collecting to send back to Earth would have made it out before the collapse. Read the rest of this entry »
An oral history of the epic space film “The Right Stuff” http://t.co/rfNH71hrYS
— WIRED (@WIRED) November 24, 2014
For Popular Mechanics, Andrew Moseman writes:
In advance of San Diego Comic Con, DC Comics has declared today to be “Batman Day,” a celebration of the 75th anniversary of the Dark Knight. (Go pick up some discount comics!) We look back on our favorite Batman tech: His sweet cars…(read more)
Note: Obviously, this is not an exhaustive list. Look here for that.
See all 8 here…