knuckle tattoos: You know who's an American hero who cares about the working class, doesn't believe in killing, is devoted to his city, and has a strong, altruistic moral center, a fantastic set of powers, and an origin that has nothing to do with murdered parents?
No, really, I'm asking, because I can't remember if that terrible Barry Allen origin retcon ended up sticking.
What was it about this scene that bothered me so deeply? Whether intentionally or not, Man of Steel director Zack Snyder brought to the movies scenes of intense urban destruction that visually and viscerally trigger memories of a real-life event in my lifetime, in my city. The close similarity surprised and shocked me, as opposed to, say, movies I've seen where I expected the horrific imagery like World Trade Center or United 93.
Superman, one of the two or three most expensive movies ever made, and with the biggest event promotion yet, is a cheesy-looking film, with a John Williams epic score that transcends self-parody -- cosmic fanfares keep coming when theres nothing to celebrate. The sound piercing your head tells you that you should remember each name in the euphoric opening credits. Thats where the peak emotion in the film is: in the package.
Superman gives the impression of having been made in panic -- in fear that too much imagination might endanger the films appeal to the literal-minded....
The narrative immediacy of comic strips is what has such a magical effect on kids. The plot is socked to them, with exclamation points. And we go to Superman hoping for that kind of disreputable energy. But it isnt there, and you can feel the anticipatory elation in the theatre draining out. Donner doesnt draw us in and hold on to us; were with him only in brief patchesa few seconds each. The plotting is so hit or miss that the movie never seems to get started.
The story has been updated from the thirties to the seventies, but not modernized, not rethoughtjust plunked down in the seventies... And, in an era in which urban corruption and decay are deep and widespread, Supermans confident identification with the forces of law and order, and his thinking that hes cleaning up Metropolis (New York City) when he claps some burglars and thieves in jail, might be treated with a little irony. (It would be more fun to see him putting out a fire while kids threw stones at him, or arresting a mugger and being surrounded by an angry, booing crowd, or tackling the garbage problem.) ...the film doesnt bring any ambiguity into this portrait of an outsize F.B.I. man from space...
...were acutely conscious of the lack of elegance in the design, because Krypton, which is supposed to be more advanced than Earth by thousands of years, has plastic-chandelier decor, like a Vegas lobby... the mystic fortress looks like a crystal wigwam that is being put up by a stoned backpacker...
Superman doesnt have enough conviction or courage to be solidly square and dumb; it keeps pushing smarmy big emotions at us -- but half-heartedly. It has a sour, scared undertone.
Charlemagne In Sweatpants: I really hate that 'oh, they're just imagining it' 'twist'. Its not a twist, its a faux-clever thought experiment by people trying to turn every movie into Fight Club.
Slap*Happy: It's almost a dead certainty that this is one of Carrey's bizzarre marketing stunts. The man is deeply, profoundly smart, and the trolliest troll who ever trolled under a bridge in a troll-face mask.
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