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The only review that matters is here: Batman v Superman Returns Soul to Superheroes

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duckroll

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http://www.nationalreview.com/article/433246/batman-v-superman-culture-war-gets-mythic

Fanboys do not own the franchises of Batman and Superman movies, so director Zack Snyder went against the mob and dared to raise the genre to a level of adult sophistication in 2013’s Man of Steel, the most emotionally powerful superhero movie ever made.
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It helps that Snyder is also visionary, inclined to extravagant spectacle and gifted with a signature erotic touch. An early montage equates violence, wealth, loss, and grief through symbolic images of bullets, pearls, blood, and tears.
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Snyder’s opening sequences interweave the origin stories of these mythic heroes and their alter egos. What has become overly familiar through years of repetition acquires new dynamism — and new understanding — that particularizes and personalizes each wounded man’s suffering. Not only are these time-shifts audacious (movie marquees announce the 1940 The Mark of Zorro and the 1981 Excalibur — implying the evolution of history), but so is Snyder’s proposition about the nature of heroism and vengeance: Both stem from the way individuals react to and comprehend their experiences. Snyder’s thrillingly intelligent use of interior conflict and political antagonism vastly outclasses Christopher Nolan’s Batman trilogy: Batman Begins, The Dark Knight, and The Dark Knight Rises — all noxious — which were bellwethers of our culture’s decline.
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He creates the year’s first great movie image by examining Superman’s “divinity” when he is surrounded by Day of the Dead multitudes. The image echoes our current desperation regarding “populism” — and that’s truly audacious.
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In this age of petty Marvels, most comic-book movies merely perpetrate fantasies of power, but Snyder, enacting his personal aesthetic, braves a film that examines those fantasies. He boldly challenges popular culture’s current decay.
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Snyder intends to resolve the conflict between commerce and art, power and morality. “Knowledge with no power is paradoxical,” one character says. “Man made a world where standing together is impossible,” frets another. With Batman v Superman, the battle for the soul of American culture is on.
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BRAVO.
 
Jexhius said:
Truly, the greatest living critic.
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Read the real shit:

The men of Batman v Superman: Dawn of Justice may not please eunuchy fanboys but anyone old enough to experience morning wood will appreciate it.
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Each orphan’s personal torment and heroic ambition amounts to a passion. Grindr might match them, yet they’re initially mismatched which means that when they finally meet—and fight—it’s equivalent to a hate fuck.
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Snyder’s Batman with his five o’clock shadow, supersedes the morose hero of Christopher Nolan’s gloomy The Dark Knight trilogy, just as his Superman (also Clark Kent) junks the jovial Superman of the Christopher Reeve movies and Brandon Routh in Bryan Singer’s adolescent fantasy. Thanks to Cavill, Snyder’s Superman/Kent looks to be in perpetual tumescence.
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If fanboys don’t cream to Batman’s dream sequence (“It took me to the lie, a beautiful lie” Wayne says), grown-up gay men surely will. In his dream, Batman wears a leathery mask, hiding his identity, while he is taunted by wasplike creatures and forced to acknowledge Superman’s equivalent virility. This goes beyond Guy Ritchie’s boy-boy teasing in last year’s The Man from U.N.C.L.E. (which co-starred Cavill). It is the most surreal dominance-submission dream in Hollywood history.
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Funniest review since his Concussion one which he called, "the most unexpectedly head-on movie about racial experience made during the Obama era."
 
He's right you know. This film will be looked on back very differently in the future. Experimental and bold. Yes maybe a failure but at least it tries something new unlike the formulaic template of it's competitors.
 
hal9001 said:
He's right you know. This film will be looked on back very differently in the future. Experimental and bold. Yes maybe a failure but at least it tries something new unlike the formulaic template of it's competitors.
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Not sure if serious.
 
As the Supeman-Zod fight escalates so does its 9/11 evocation and Snyder’s vision of urban destruction attains the poetry Michael Bay did not, alas, achieve in Transformers III: Dark of the Moon. That evolution comment evokes The Godfather; its implicit “you can kill anybody” suggests 9/11 annihilation which has fed the juvenile thrall of too many comic book movies, Snyder’s Superman–symbolizing hope–counters all that. Man of Steel allows sci-fi blockbuster audiences to finally emerge from post-9/11 darkness. Thanks to Zack Snyder’s artistry, Man of Steel is The Godfather of superhero movies.
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Never forget.
 
Bobby Roberts said:
This isn't even the good Armond White review.
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Batman vs Superman is like a gay porno?

"If fanboys don’t cream to Batman’s dream sequence
(“It took me to the lie, a beautiful lie” Wayne says)
, grown-up gay men surely will. In his dream, Batman wears a leathery mask, hiding his identity,
while he is taunted by wasplike creatures and
forced to acknowledge Superman’s equivalent virility. This goes beyond Guy Ritchie’s boy-boy teasing in last year’s The Man from U.N.C.L.E. (which co-starred Cavill). It is the most surreal dominance-submission dream in Hollywood history. But Batman v Superman is also a political allegory, using masculine sex appeal to examine America’s current political confusion. Zack Snyder’s comic book avatars are not for children."

Haha, love it.
 
Puck Beaverton said:
Haven't seen it but hearing (from multiple critics) how it kind of tackles post 9/11 paranoia and dealing with a walking God, makes it sound more interesting than most superhero movies.
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On paper the themes could actually really be powerful, but they're all so botched. It all gets reduced to rock-em sock-em CGI in the end.
 
Pretty clever gig.

Wait for other reviews to roll first.

Then write a review to be as contrarian as possible.

Yeah it is shameless, but it is a living.
 
PBY said:
On paper the themes could actually really be powerful, but they're all so botched. It all gets reduced to rock-em sock-em CGI in the end.
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I don't doubt that is the case, but there even being kernels of something exciting there is enough for me to actually want to see this.
 
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