Did a quick video this morning on the complaints about “blackwashing” with the announcement of Beetz as Domino.
Did a quick video this morning on the complaints about “blackwashing” with the announcement of Beetz as Domino.
Entertainment Value: 10.10
Critical Value: 7.5/10
It is the end of an era. After 17 years, Hugh Jackman presents us with his last outing as Wolverine. After the first two Wolverine films many fans, myself included, initially approached another one with a healthy dose of skepticism. Then the first trailer dropped and skepticism gave way to hype for many people.
Then the second trailer dropped, confirming that Dafne Keen would be playing X-23. The film was flooded with good reviews from Rotten Tomatoes and one of my favourite YouTube reviewers also gave the film his highest rating. Needless to say, I expected a lot from this film, and for the most part, it delivered. I won’t say that the film is on the same level as The Dark Knight (it got a lot of comparisons to it) but it is undoubtedly the best Wolverine film and one of the best films in the X-Men Universe.
Logan introduces us to a bleak(er) future where most mutants are now dead. Twenty five years have passed without a mutant birth, most of the X-Men are dead, and Logan is slowly dying as his healing factor burns out. He is aging more noticeably, healing slower and the adamantium in his body is now poisoning him. Meanwhile, Charles Xavier is suffering from a mental disorder. Early plot summaries said the disease was Alzheimer’s but it is never actually confirmed in the film. Either way, he is prone to fits of dementia and seizures, which have devastating effects on the people around him.
Logan now works as a chauffeur and is content to save money so that he and Charles can buy a boat and live on the sea. Logan is tracked by a Mexican nurse who eventually convinces him to escort Laura Kinney (X23) to a mutant safe haven and evade The Reavers, cycber-netically enhanced soldiers tasked with bringing X23 back. Firstly, I have to say that X23 was insanely badass in this film, showcasing an agile fighting style that is in contrast to the brute force on display from Wolverine. Although Wolverine is feral in his own way, Laura shows us what could have become of him if he was raised as a weapon. Dafne Keen doesn’t have many lines for most of the film, relying on facial expressions and body language to create the character.
The makeup department did a great job in creating a weathered Logan, whose body tells it own story. Jackman is able to exude anger, coldness,sensitivity, love and caring seamlessly. Although his character seems to shy from caring or helping others, it is easy to see that he is only putting up a wall to protect himself from the pain of losing more people he cares about.
Charles Stewart brings us a different version of Charles Xavier. Although Charles still houses some of the wisdom we associate with the character, his disease has resulted in forced isolation. We see a Charles who knows his time is coming and is eager to enjoy the rest of his time, coming across as more carefree than any other version of Xavier we’ve seen on screen. The closest comparison is to his younger, broken self in Days of Future Past.
Jackman, Stewart and Keene are the film’s center and their scenes stand out as my favourite emotional moments. At its core, the film is about family and it great to see the family grow stronger as the film progresses. Although he is not necessarily a part of the family, Caliban (Stephen Merchant) assists Wolverine in taking care of Xavier and his performance is another stand out in the film. He has a relatively small role but succeeds in picking away at Logan to reveal his mindset as they try to navigate the dangerous world they live in.
Needless to say, the action is amazing, giving us the R-Rated glory we’ve been waiting to see for a while. People don’t just fall down when Wolverine swings his arms, they die in spectacular, gory fashion. There were many scenes that genuinely gave me chills. The film does feature some spotty CGI in parts. Fortunately, most of the effects are practical.
One of the weakest parts of the films, in my opinion, are the villains. Don’t get me wrong, Boyd Holbrook was enthralling as Donald Pierce. The issue is that it felt like he had little screen time. He and the man he answers to, were not developed very well in contrast to the other characters. There is one interesting goon that adds a new level of threat to the film, and the goon’s introduction is one of the most memorable in the film. However, I feel as if this mute goon could have been substituted for a stronger Donald Pierce.
While the film was not perfect, or as even as I would have liked, it was a solid end to Wolverine’s story. The ending, for lack of a better world, is poetic. Jackman has implied that he would be open to playing the role again if it existed in a different universe e.g. the MCU. However, he has also said that “This is it. This is the last one.
It is sad to see Hugh Jackman end the role, but I am happy that this is the film he did it with.
Edit: After more thought, had to bump up my ranking of Logan.
X Men Universe Film Rankings
Days of Future Past
Note: For an abridged version of this post, check out my YouTube video.
About a month ago, Ben Affleck stepped down from directing The Batman, which does not yet have a release date. Matt Reeves (Dawn of the Planet of the Apes) was circling the role for a few weeks and it is now confirmed that he will direct, using a script from Chris Terrio. There were reports that Geoff Johns and Affleck wrote the script but there has been no mention of that in recent reports concerning Reeves. However, Affleck and the studio apparently approved Terrio’s script. The new script is likely a composite of Johns, Affleck and Terrio’s work.
Ben Affleck made it no secret that he detested all the questions he received about The Batman while promoting other films, such as Live By Night. There was a lot of speculation that he would leave the directing role, and his role as Batman due to the pressure to please a horde of nitpicking comic book fans. For now, Affleck is still signed on to produce and act, and I hope it stays that way. Some reviews of Live By Night say that the film suffered from Affleck trying to do too much as an actor, writer and director. I can’t help but notice his original decision to step down coincided with the flood of negative reviews for Live By Night. Hopefully stepping down from directing The Batman as a move that is meant to alleviate some stress, but also ensure a better film.
The Batman is still my most anticipated DC solo film, and I hope it delivers the quality film that DC fans have been waiting for. Hopefully some of the other projects deliver that prior to The Batman as well. Man of Steel was decent, and BatmanvSuperman had the potential to be amazing. Instead, we get a terrible portrayal of Lex Luthor and a rushed version of Doomsday. Suicide Squad gave us some things to love, like Deadshot and Harley Quinn, and a lot to hate as well. I’m looking at you Enchantress, Incubus, most of the third act etc. Each film had great moments, and even stretches of excellence, that couldn’t elevate the entire film.
One of my favourite scenes from BatmanvSuperman
As I’ve said many times before, the DC Extended Universe (DCEU) has issues, but the tone of their films is not one of them. Reeves last few films demonstrate that he knows how to handle a dark tone. People can complain about the need for more “fun” in the DC Universe, thanks Dwayne Johnson, but I think we can all agree that darkness fits a batman film. Aside from Dawn of the Planet of the Apes, Reeves also masterfully wrote and directed Let Me In (2010). The film is based on a revered book, but we have all seen great source material turned into subpar films. While Apes was also amazing, I think Let Me In is a better example of Reeve’s creative skill since it addresses a big issue I have had with some DC films and films as a whole.
When a great director creates a poor film people are quick to argue that the director was hampered by a poor script. From what I understand, the director can override the writer. The director shouldn’t be a drone mindlessly translating a script to film. he is supposed to utilize his own discretion to oversee what he films. Zack Snyder has numerous “story by” credits on IMDB, which is the same credit given to Christopher Nolan for Man of Steel. From what I have researched, “story by” is just a credit given to someone who came up with the basic plot of the film:
Superman’s fight with Zod makes people distrust and fear him, including Batman. Batman then forms a plan to take him out, but Lex Luthor has his own plans as well.
This basic plot could be conveyed in some form other than the screenplay, such as a “treatment” or short story.
In comparison, the screenplay credit goes to the person who actually crafts the dialogue and fleshes out the characters. Snyder’s only two “screenplay” credits are for Sucker Punch (2011) and 300: Rise of an Empire (2014). I tried watching Sucker Punch, I couldn’t finish it and I have consistently heard that Rise of an Empire is dramatically inferior to the original film. I don’t like to base my opinions solely on the opinions of others, since I would have avoided BatmanvSuperman like the plague if I did. If you believe that I am mistaken about Rise of an Empire, let me know. My point, is that a director who is also a strong writer should be able to expertly exercise his own discretion with the material he is given in order to create a great film.
While the director can override the writer, the studio can override the director. This has already happened with Bvs and Suicide Squad. The uncut version of BvS helps to flesh out Clark and Bruce more, while also clearing up some elements of the plot that didn’t make as much sense in the theatrical film. Meanwhile, the abusive Joker and Harley relationship was removed from Suicide Squad because the studio was worried it made things too dark (among other changes). The films aren’t perfect without these changes, but they are definitely better.
I am hoping that Reeves was able to negotiate for creative control over this project, so that the real filmmakers can craft something for the big screen that DC fans can be truly proud of. There are several other projects I am excited for in the meantime, especially Aquaman and I hope that The Batman doesn’t end up being one of the last hopes for a consistent and well crafted DCEU film.
Season 7 was of The Walking Dead was originally one of my most anticipated since it would focus on Negan, one of my favourite comic book villains and the best villain that The Walking Dead comics have had to date. Season 6 introduced Negan and ended with a money-grubbing tease that left a bad taste in my mouth and made me skeptical of what season 7 would offer.
The season 7 premiere featured a drawn out encounter with Negan that was obviously done to pad screen time, but I was willing to overlook it for the first episode. Then the second and third episode focused on The Hilltop and The Saviours respectively. It has always bothered me when The Walking Dead does this, instead of cutting between the different stories. Shows like Game of Thrones have far more characters and locations to deal with and do a better job of giving each party their necessary time. I have no problems with Tara and Heath as characters, but giving them an entire episode was ridiculous.
Some may argue that focusing on one location gives more opportunity for character development and builds anticipation for other story arcs. In this case, I beg to differ. Cutting between different stories during an episode forces writers to be more concise with their storytelling, so that an entire episode doesn’t end up serving as filler. Instead of 40 minutes (without commercials), writers are forced to use tighter writing to express the same story in 20. Or they can possibly stretch the different stories over multiple episodes.
The way it stands, the eventual conflict with Negan gets dragged out to episode 9 since three episodes didn’t show Rick and Alexandria at all. Since The Walking Dead is sticking to longer seasons (the past few have been 16) it seems the desire to reach a certain amount of episodes, instead of just telling a story naturally, interferes with the storytelling. The Marvel Netflix shows have a similar issue, since Marvel makes them all thirteen episodes. I felt like Luke Cage, in particular, could have been shortened. The midseason break also seems like a move designed to keep The Walking Dead on air as long as possible, especially now that other AMC hits like Breaking Bad and Mad Men have completed their runs.
I never considered The Walking Dead one of the best shows out there, especially since the acting is inconsistent at best. It ranges from great (Lincoln), mediocre (Serratos) to awful (Riggs). With all that said, I was not that excited for the mid-season premiere.
Firstly, I am sure that Gabriel didn’t actually betray Rick since it would derail his entire arc as a more committed member of Alexandria. When he is driving away in the car, I thought I was seeing things, but online articles have confirmed that someone else emerges in the passenger seat. Earlier in the season, we saw someone spying on Gabriel at the wall and on Rick and Aaron at the boat. It appears that person reached out to Gabriel, and is probably aligned with the community that confronts Rick’s group at the end of the episode. I loved Rick’s smile; the look of a man who has found his army.
I thought the group might be Oceanside, but Oceanside was previously introduced as a female-only group. In the comics, the group is co-ed and Michonne joins them for a while. Unless they’ve added men since their last appearance in the show, this appears to be a brand new group that was never shown in the comics. If they are a new group, it almost comes across as a deus-ex machina, but I’ll reserve judgment until the next episode. The show better not focus on another group for the entirety of the next episode.
Some fans have had a hard time grasping why Rick’s group didn’t want to fight back earlier. Hopefully this episode makes it clear they were worried about their lack of numbers, relative to The Saviours. Additionally, Negan has made sure to consistently put Rick in a bind by making the lives of others tied to his. Yes, Rick could have beaten Negan to death with Lucille when Negan visited Alexandria, but then The Saviours would slaughter everyone.
Like the comics, Gregory is content to stick his head in the sand and submit to Negan’s rule. Xander Berkeley chewed some scenery in this episode, and hopefully we won’t see too much of that in the rest of the season. If his arc follows the arc from the comics, we’ll be seeing him around more and this show doesn’t need more weak acting.
While Ezekiel is happy to join Rick’s alliance in the comics, he is hesitant here due to the risk of losing everything they’ve built. It is a fear that Rick had as well, and it is likely Ezekiel will change his mind. Ezekiel’s refusal also brings up another issue. In the comics, Dwight is actually a double agent who is working with Ezekiel to take Negan out. The show has already hinted at Dwight’s animosity towards Negan, for taking his wife and burning his face. We know that his motives for wanting Negan gone are there, but it looks like he may not be a double agent in the show. This doesn’t bother me too much, since his reveal seemed like a last minute decision in the comics. If Dwight was a double agent the whole time, why did he kill Abraham if he didn’t really have to?
Morgan reunites with Rick for the first time since Carol’s disappearance from Alexandria, and his own hesitation to go to war seems to have impacted Ezekiel’s decision. Although Morgan is willing to kill in self-defence, it seems the fear of all the lives that will be lost in the war makes him hesitate to join an all out war. The only positive thing to come out the meeting with Ezekiel is his offer of asylum for Daryl. This episode also made me wonder if Daryl will find Carol and convince her and Ezekiel to join the war.
While Rick doesn’t get what he wants from Ezekiel, he does came across explosives that he plans to put to good use against The Saviours. Rosita appears to have learned some valuable things from Eugene, and this appears to be the start of an arc that is meant to make us root for her character more. However, I still despise her character. Her sheer stupidity in trying to kill Negan with only one bullet got someone else killed and got Eugene taken away. Her attitude to Sasha also fails to make her endearing. Also, there’s the fact that she was in a relationship with Spencer of all people. The girl’s got poor taste.
Have to say I am more excited for issue #165 of The Walking Dead comic, than the next episode of this show.
Comicommand is back and the first articles of the new year were uploaded yesterday, including my article on Ed Brubaker’s “Kill or Be Killed” (2016).
Check it out below or on the site.
I first came across Ed Brubaker’s work with Incognito, a short but interesting series about a former supervillain in the witness protection program. Kill or be Killed (2016) frequently popped up in any discussion of Brubaker and I was quick to add it to my reading list.
The series follows Dylan, a college student who is visited by a demon after a failed suicide attempt. The demon advised Dylan that he spared his life, but must now kill one person a month in order to continue living. After the demon breaks his arm and uses host bodies to assault him, Dylan begins his quest to eliminate people who deserve to die.
Dylan’s father committed suicide when he was younger, which indicates he may have inherited certain dispositions from that side of the family. What makes the story so interesting is that Dylan has tried to commit suicide previously, so we know that he is mentally troubled. For all we know, his vision of a demon is all a part of his own delusion: a sort of split personality that prods him to begin his quest. The series is only on its fifth issue so there is still plenty of time to see if this theory is right.
Dylan may be mentally troubled but many of his struggles are universal. He is yet another student trying to figure out his life, and who struggles with girls. His best friend, Kira, is dating his roommate and he mostly sees her only when she visits her boyfriend.
Even though the protagonist is relatable, the story can fall apart if the transition to crime-fighting is handled poorly. Brubaker excels at creating a realistic portrait of attempted vigilantism that reminded me somewhat of Kick-Ass. Dylan is able to get a gun pretty easily, since his deceased father had one buried in his possessions. This plot point might seem too convenient but it fits since we know Dylan’s dad committed suicide, he is likely carrying out his mission with his father’s murder weapon.
The toughest part for Dylan is finding people who deserve to die. He realizes that he can’t rely on movies as a blueprint, knowing that muggings and other crimes don’t routinely happen on subways or dark alleys when he is present. He finds his first target because he remembers that one of his childhood friends was molested by his older brother. He already knows the person’s name, and Facebook gives him everything else he needs, including the person’s work place.
When he’s successful with his first hit, he can’t remember if he said something to the target before he shoots him. Maybe he did. Maybe he didn’t, and his mind is retroactively adding in a cool one-liner that one of his favourite movie characters would say. Dylan faces success, but he also faces plenty of failure. His actions escalate, bringing more consequences for him. As the story progresses, we’ll likely see consequences for his loved ones too.
Kill or Be Killed is a deconstruction of vigilantism, a love story and a story of mental illness. Brubaker deftly handles Dylan’s development and I am eager to see how the series ends his journey.
I’ll be back to writing for comicommand soon, and should have an article for them around January 15. My first piece for the new year will be a piece on Ed Brubaker’s Kill or Be Killed. Until then, I wanted to share some thoughts on another ongoing series that I’m reading.
Robert Kirkman’s The Walking Dead is undoubtedly the comic that turned me into a serious comic book reader. It started with Rick Grimes, then moved on to Spider Jerusalem, Jesse Custer, Billy The Butcher, Mark Grayson, and now Kyle Barnes.
After binging on Invincible and then having to wait until February for the next issue, I eagerly sought out Kirkman’s latest series. After giving us a post-apocalyptic zombie tale, and then a superhero story, Kirkman delves into demonic possession.
Outcast follows Kyle Barnes, a man whose life is plagued with demonic possession and who is ostracized in his hometown after allegedly hurting his wife and daughter. While Kyle knows something changed his wife, making her attack their daughter, no one else believes him. As he returns home, Reverend Anderson helps to open his eyes to the truth of demonic possession.
Although I have not seen many films related to possession, I have always been interested in the subject. Firstly, Paul Azaceta’s artwork truly helps to bring the story to life from the first frame onward. The style is somewhat simple, compared to works like Punisher: Max, but is reminiscent of Invincible. Azaceta fits the comic’s atmosphere of horror by seamlessly transitioning from relatively simple frames, to ones that are genuinely unsettling.
Kirkman is also able to explore a religious theme, without creating a story that is pro or anti-Christian. Kyle represents the skeptic, while Reverend Anderson is the holy man who slowly makes Kyle accept the truth of exorcism. The story could come across as formulaic with this set up, but Anderson is a layered character who believes in the Lord, while also having his own doubts about institutionalized religion and God. Anderson’s thoughts are some of the most interesting parts of the story.
Kirkman also adds interesting modifications to the exorcism mythos, which are slowly explained as we get further into the series. In some ways, the exorcism links to several other issues in Kyle’s life. His mother abused him due to her possession and his wife abused their daughter. Both of these periods have significantly affected Kyle’s psyche, which leaves him in a dark place that aligns with the overall tone of the comic. Every triumph that Kyle faces is followed by another revelation that causes more pain or a setback from the forces that are working against him.
With each issue, we learn more about the possessed and the overarching conflict continues to build with Issue #24, which was released today.
Like The Walking Dead, Outcast currently has its own television show as well. One season is complete, and it has been renewed for another. Clearly, it isn’t the phenomenon The Walking Dead is, but maybe the show isn’t as hampered by filler. That’s a post for another day.
My latest post for comicommand is available on the site and copied below. After reading Garth Ennis’s Preacher I was eager to check out some of his other work, but was worried that other works would disappoint in comparison. However, I am loving The Boys just as much as Preacher.
Written By Cadeem Lalor
After reading Preacher, I was eager to check out Garth Ennis’s other work. I heard mixed reviews about The Boys, but after reading 40 issues, I can safely say that I’m loving the series. The Boys takes place in a world where the greatest superheroes are morally corrupted celebrities. The elite teams have corporate backing and become increasingly disconnected with normal humans, which also results in the careless loss of human life during their conflicts with supervillains.
The Boys is the nickname for a CIA squad that is responsible for keeping the heroes in line through intimidation or violence if need be. While I love the characters, one of my favourite things about the series is its depiction of superheroes. There aren’t many supervillains in the universe, since many super-powered people elect for an easier life as public idols. If a hero becomes popular enough through his conquests or sales of his own comic book, he gets to join an elite team, such as The Seven (a twisted version of The Justice League). With elite status, comes corporate funding, public appearances and full-blown celebrity status.
Deciding to be a hero doesn’t mean that these figures are actually the good guys. Billy the Butcher, the leader of The Boys, knows firsthand that they view regular people as toys. When Malchemical, one of the most deadly heroes, is relegated to the C-List Superduper group, he lashes out after their leader submits a complaint about him. The concepts of consequences or judgment are foreign to him and he believes that yelling “I’m a superhero” frees him of all wrongdoing. When Malchemical continues to be ostracized by the group he attacks its leader and attempts to rape two of its members. Billy also knows that this is regular behavior for Malchemical. Numerous other incidents in the comics also show other abuses of power from other characters, whether it is rape or attempted murder. The Seven, for the most part, are a group of frat boys high on their own power.
Recent films like Man of Steel have been criticized for their depiction of the destruction that transpires when super-powered beings fight one another. I never jumped on this bandwagon since some level of damage seems inevitable and because the damage often becomes a plot point in future films, just like Superman’s fight with Zod plays a central role in BatmanvSuperman, or how the destruction in Avengers 1 and 2 leads to Civil War. The Boys starts off with a civilian being killed during a fight between a villain and A-Train, a member of The Seven. The difference here is A-Train’s lack of empathy. He realizes what he has done, but quickly leaves since the paramedics can take care of everything else. Later, he also attempts to rape The Seven’s newest number, Starlight.
Some might see the moral depravity of The Seven as a caricature, but the heroes are no different than politicians, judges, police officers, athletes, musicians etc, who get caught up in scandal after scandal. A sense of invincibility (literally in the case of the heroes) can lead to a lack of restraint and can corrupt people who may have started their pursuit with noble intentions. For every superhero who is morally pure, similar to our typical image of Superman, there are ten who are simply in the business for the money and adoration. Values like justice mean very little and are simply useful platitudes that the heroes use to justify their presence. The Boys is a depressing look at a society filled with superheroes, but it may be the most realistic.
Below is my latest past for comicommand
The popularity of Marvel and DC Comics almost leads to word association. Superhero comics are often tied to one of the two behemoths, since they are the oldest producers of superhero comics. However, it is this longevity that leads to one of the biggest issues of the big publishers. The plethora of comic book titles, events, authors and timelines for each character can make jumping in seem overwhelming for prospective readers. Not to mention relaunches such as the ultimate comics for Marvel, and rebirth for DC. These relaunches can serve the practical purpose of giving newcomers a fresh start, but that impact quickly fades once the new series reaches a certain point. In the case of the ultimate universe, catching up with sixteen years of comics is better than fifty, but can still be daunting. In the case of DC, I have heard great things about Rebirth, but it appears some of the most poignant moments I have heard of would not be as effective without some prior knowledge of certain story-lines. Entries on this site, such as the lists by the Commander, acknowledge this problem and are meant to provide recommendations for tackling the medium. However, the fact that lists like these are necessary attests to the issue. Before readers get their pitchforks, I want to clarify that I am not trying to criticize the format of superhero comics or their rich history and diversity. I am only saying that, objectively, it does lead to of the strengths (in my opinion) that smaller imprints such as Vertigo and Image Comics have.
The last comic series I read was Vertigo’s Y The Last Man, a post-apocalyptic story where all male mammals spontaneously die, except for Yorick Brown and his pet monkey. I heard about the comic, it sounded interesting, but I wasn’t sure if I wanted to take another series on. What convinced me was seeing that it was only sixty issues. One weekend later, I binge read the entire series. It wasn’t only sixty issues because it got cancelled, but because that was the end of the story. Yorick’s journey ended, and the series ended with it.
I am also currently reading Image Comics’, The Walking Dead. Although the series is longer, currently on issue 155, it is likely to be a more straightforward read than decades of comics from other characters.
Marvel and DC titles do of course have graphic novels, or certain series for each character, like The Dark Knight Returns and the ongoing Injustice series. These stories can either be an alternate version of a character or simply an isolated story arc. These can provide a great introduction to characters but can also lose some impact for new readers. In the case of Injustice, the set up to the story is rooted in references to Doomsday and Scarecrow. If someone reading the series didn’t know the characters, then the story could lose its effectiveness. Some of these self-contained stories, do not really function as self-contained ones, still requiring some level of knowledge from other comics. Of course, this is typically only an issue for more popular characters like the Justice League, with (relatively) smaller titles such as Transmetropolitan being truly self-contained.
With The Walking Dead and Y The Last Man, all of the world building is done within the series. There are no related tie-ins, background info or even general comic knowledge that needs to be consulted. The story can simply be followed with one issue after another, with no need to switch between events. I do not have a problem with burying myself in the history of DC and Marvel. I know that for many people, the sheer variety is what draws them to comics. They look forward to seeing how a new writer handles their favourite characters. They don’t dread having to catch up, they look forward to it. The success of Marvel and DC Comics makes it clear that many people may not even see the limited stories of Vertigo and Image as a strength. I do look forward to reading more DC and Marvel comics, and getting more caught up with the stable of writers and stories available. This viewpoint is very subjective, I only hope that readers may be able to understand my point of view.
Due to my schedule for tomorrow, it’s likely that there won’t be a blog post up for Friday night. However, there should still be one up for Saturday and Sunday. I’m also planning on doing a YouTube video over the weekend as well.
Some early reviews of X: Men Apocalypse are in and the film currently has a 56% on Rotten Tomatoes. After seeing the unwarranted trashing that BatmanvSuperman got, I am not going to let the reviews impact my attendance. BvS was a 6.5 in my opinion, but the 32% it has on Rotten Tomatoes is unwarranted. BvS does have legitimate faults such as Eisenberg’s Luthor and the third act, and I have heard many complaints I can understand, even if I don’t agree. The one complaint I can’t stand is that the tone is an issue. The film is “too dark” “too gloomy”, too “depressing”. The problem is that people now think “dark” and “good” are mutually exclusive. Apparently you can’t have one without the other in a comic book movie, unless it’s for a certain character. People are so used to the MCU’s light-hearted tone that anything that is darker is instantly disparaged. Think I’m exaggerating? Check out this review I found with a quick Google search of “X-Men apocalypse”.
Most of the criticism is levied at the film’s tone. Too “gloomy”, “dour”, not enough fun. Most of the review just compares the X-Men film to MCU films, saying it is different than them and therefore inferior. That is not how a review of a different franchise should work. Judge the film as a single unit. The last paragraph wraps the review up with comparisons to the MCU. Although the author says that every film doesn’t need the MCU’s level of banter, she obviously does not mean that if the tone bothered her so much. This mindset that dark now equals bad, is a perfect example of corporate brainwashing.
Hi everyone, just wanted to post a link to another piece I wrote for comicommand.