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[greendomo's ghost]

What I liked about the story is that he didn't need to become Superman because he was Superman when he pulled a bus out of the river. And he was Superman when he climbed onto the burning oil rig and held the crippling mast. He didn't need to become Superman because he was always Superman. The story was him futily trying to suppress an alter ego not cultivatte one.

But to me that invalidates the whole argument of "he's not superman yet! he's not a symbol of hope yet! he doesn't know how to contain collateral damage yet!" We SEE him doing heroic acts in anonymity before he puts on the suit. But once he does and becomes visible to the world his heroic acts are few and far between. He tells people to go inside and lock their doors, and he saves a helicopter pilot.

It's funny because he's more heroic earlier on, before he makes the choice of "what kind of man he wants to grow up to be." He's already chosen, it's in his nature.

 

[RustyNails]

The more I think about the film, the worse it gets. Maybe I got carried away in explosions and other stuff. Has this happened to others?

 

[Messypandas]

But to me that invalidates the whole argument of "he's not superman yet! he's not a symbol of hope yet! he doesn't know how to contain collateral damage yet!" We SEE him doing heroic acts in anonymity before he puts on the suit. But once he does and becomes visible to the world his heroic acts are few and far between. He tells people to go inside and lock their doors, and he saves a helicopter pilot.

It's funny because he's more heroic earlier on, before he makes the choice of "what kind of man he wants to grow up to be." He's already chosen, it's in his nature.

once he becomes "visible" to the world his acts are confined to within literally a day. Hes been Superman in the public vision for one day.

 

[Zabka]

And that's what's wrong with the film. He never became Superman. And I know you like the idea of it just being the beginning and Superman's first outing, but then you have to understand why it feels unsatisfying as a viewer.

It's the same mentality that fans of ASM give as for why Peter Parker acts like an insufferable, selfish cunt. 'He's only at the beginning of his hero arc.' As if it's a good thing that we have to wait a few movies till we like the hero of them. It's poor writing.

Because Clark doesn't have an organic character arc in MoS. Goyer and company just move from plot point to plot point without actually progressing Clark as a character. We never see any growth. He just DOES things. Like when he dons the suit. It doesn't even feel like a big decision. Jor El gives him an explanation of what happened with Krypton and then tells him to put on the suit and he does.

Think of Batman Begins. Bruce has a fantastic arc in which we actively see him change into the man that would be Batman. And it's satisfying to watch.

Everybody in MoS feels like a plot point or avenue of exposition, rather than a self-contained character.

Everyone is so hung up on the suit reveal. The suit's a symbol of him accepting his heritage but it's not what makes him Superman. It's Kryptonian Underarmor. It works differently in the trailer because it was edited to be similar to moments we're familiar with in other media, playing on nostalgia.

In the movie it's a push from his birth father, motivating him to come out of hiding and to start pushing himself beyond his limits. I'm glad he doesn't instantly receive perfect clarity of purpose and mastery of his abilities because he slipped on long johns and Kryptonian overpants.

But once he does and becomes visible to the world his heroic acts are few and far between. He tells people to go inside and lock their doors, and he saves a helicopter pilot.

He also saves the human race from destruction.

 

[J10]

The more I think about the film, the worse it gets. Maybe I got carried away in explosions and other stuff. Has this happened to others?

Sometimes your brain just melts from the excitement. I didn't see Transformers for the piece of shit it is until the second viewing because OMG GIANT ROBOTS THAT TURN INTO CARS!

 

[SCULLIBUNDO]

I can already picture Sculli arguing in every unrelated thread on how MoS is an unarguably piece of shit of a movie for the next 3 years.
Thankfully TDKR can rest in peace now.

MoS' script is like magnified version of the script problems with TDKR.

 

[RustyNails]

Sometimes your brain just melts from the excitement. I didn't see Transformers for the piece of shit it is until the second viewing because OMG GIANT ROBOTS THAT TURN INTO CARS!

I know. I'm remembering that scene where morpheus is trying to save that lady trapped in rubble, and it reminds me of

 

[universalmind]

And that's what's wrong with the film. He never became Superman. And I know you like the idea of it just being the beginning and Superman's first outing, but then you have to understand why it feels unsatisfying as a viewer.

It's the same mentality that fans of ASM give as for why Peter Parker acts like an insufferable, selfish cunt. 'He's only at the beginning of his hero arc.' As if it's a good thing that we have to wait a few movies till we like the hero of them. It's poor writing.

Because Clark doesn't have an organic character arc in MoS. Goyer and company just move from plot point to plot point without actually progressing Clark as a character. We never see any growth. He just DOES things. Like when he dons the suit. It doesn't even feel like a big decision. Jor El gives him an explanation of what happened with Krypton and then tells him to put on the suit and he does.

Think of Batman Begins. Bruce has a fantastic arc in which we actively see him change into the man that would be Batman. And it's satisfying to watch.

Everybody in MoS feels like a plot point or avenue of exposition, rather than a self-contained character.

In BB the part where Bruce leaves to explore the world as someone with nothing to their name, basically his second birth where he becomes the man who will become Batman, is a time skip. He has already made up his mind of what he wants to represent by the time he is in prison. Whats missing from MoS? A training montage?

All the flash backs show him wanting to discover his true origins. He knows what he wants. Why mull it over like an emotional bitch? Put the suit on and get on with the story.

 

[PhoncipleBone]

In BB the part where Bruce leaves to explore the world as someone with nothing to their name, basically his second birth where he becomes the man who will become Batman, is a time skip. He has already made up his mind of what he wants to represent by the time he is in prison. Whats missing from MoS? A training montage?

All the flash backs show him wanting to discover his true origins. He knows what he wants. Why mull it over like an emotional bitch? Put the suit on and get on with the story.

Because Clark just puts on the suit and gets on with his life like nothing really happened. The time skip/training montage in Batman Begins does a fantastic job of building the Bruce character and forming him into Batman. I felt him maturing into the role he is meant to play, culminating in him refusing to kill the criminal and then leaving for Gotham again to become Batman.

Never once in MOS did I feel that Clark earned the suit or what it meant. It was simply "Here's clothes that represent your home, boy! Now try and push yourself." It felt incredibly forced and not organic at all.

 

[SCULLIBUNDO]

In BB the part where Bruce leaves to explore the world as someone with nothing to their name, basically his second birth where he becomes the man who will become Batman, is a time skip. He has already made up his mind of what he wants to represent by the time he is in prison. Whats missing from MoS? A training montage?

This isn't true at all.

We see Bruce as somebody who wants revenge for his parents murder - misconstruing the idea of vengeance for justice. We see him go out into the world and live among criminals in order to understand them, but more than that, he's seeking a means to combat injustice - like that which befell his parents. It's through Ras al Ghul that Bruce learns how to become a significant symbol of justice by creating an identity, by 'becoming more than just a man' where he had previously been engaged in an ultimately meaningless, sisyphian pursuit of justice by beating up petty thugs in prison. It's through Ra's that he learned how to become a movement - a force of justice that would allow him to take back Gotham from the corrupt.

It is also through Ras (and Rachel's influence) that Bruce decided what was an acceptable form of justice and where his no-killing rule came from.

Most importantly, it's with Ra's and the League that he is able to adopt that sense of fear that has plagued him for so long - ultimately becoming THE thing that shapes what Batman is.

We see ALL OF THIS in Batman Begins. Him going from a lost, petty man in search of cheap vengeance to a moralistic force of change out to inspire justice in Gotham through fear.

 

[PhoncipleBone]

This isn't true at all.

We see Bruce as somebody who wants revenge for his parents murder - misconstruing the idea of vengeance for justice. We see him go out into the world and live among criminals in order to understand them, but more than that, he's seeking a means to combat injustice - like that which befell his parents. It's through Ras al Ghul that Bruce learns how to become a significant symbol of justice by creating an identity, by 'becoming more than just a man' where he had previously been engaged in an ultimately meaningless, sisyphian pursuit of justice by beating up petty thugs in prison. It's through Ra's that he learned how to become a movement - a force of justice that would allow him to take back Gotham from the corrupt.

It is also through Ras (and Rachel's influence) that Bruce decided what was an acceptable form of justice and where his no-killing rule came from.

We see ALL OF THIS in Batman Begins. Him going from a lost, petty man in search of cheap vengeance to a moralistic force of change out to inspire justice in Gotham through fear.

And all within the first hour too.

Shit, I need to rewatch Batman Begins and Dark Knight. But the end of Dark Knight just reminds me of how much they fucked up TDKR. There was such a great set up for a finale, but they botched it.

 

[universalmind]

Because Clark just puts on the suit and gets on with his life like nothing really happened. The time skip/training montage in Batman Begins does a fantastic job of building the Bruce character and forming him into Batman. I felt him maturing into the role he is meant to play, culminating in him refusing to kill the criminal and then leaving for Gotham again to become Batman.

Never once in MOS did I feel that Clark earned the suit or what it meant. It was simply "Here's clothes that represent your home, boy! Now try and push yourself." It felt incredibly forced and not organic at all.

Because Clark just puts on the suit and gets on with his life like nothing really happened. The time skip/training montage in Batman Begins does a fantastic job of building the Bruce character and forming him into Batman. I felt him maturing into the role he is meant to play, culminating in him refusing to kill the criminal and then leaving for Gotham again to become Batman.

Never once in MOS did I feel that Clark earned the suit or what it meant. It was simply "Here's clothes that represent your home, boy! Now try and push yourself." It felt incredibly forced and not organic at all.

True, its been a while since I've seen BB so I'm wrong there. So you preferred the concise BB intro vs the MoS flashbacks. Understandable.

All of the flashbacks in MoS were about Clark deciding who he was going to be. His father's entire role in the movie was dedicated to that decision. When he put on the suit he chose but still had to work on being accepted and see how far he is willing to go. I think his character progresses more in the second half where as BB gets it out of the way then stagnates which is fine because it succeeds in doing what it set out to.

 

[PhoncipleBone]

True, its been a while since I've seen BB so I'm wrong there. So you preferred the concise BB intro vs the MoS flashbacks. Understandable.

All of the flashbacks in MoS were about Clark deciding who he was going to be. His father's entire role in the movie was dedicated to that decision. When he put on the suit he chose but still had to work on being accepted and see how far he is willing to go. I think his character progresses more in the second half where as BB gets it out of the way then stagnates which is fine because it succeeds in doing what it set out to.

There are still flashbacks in the first half of Batman Begins, but they are used more effectively in my opinion. They help flesh out Bruce's struggle at that point, or help explain his motivations.

 

[Dead]

Like I said before.

This movie needed a good solid 10 minute or so chunk that takes place before Clarke finds the ship. Better contextualize the fact that he is on a soul searching journey and add more character moments to better flesh him out early on.

 

[universalmind]

There are still flashbacks in the first half of Batman Begins, but they are used more effectively in my opinion. They help flesh out Bruce's struggle at that point, or help explain his motivations.

MoS flashbacks explain Clark's struggle and motives. What's the difference?

Like I said before.

This movie needed a good solid 10 minute or so chunk that takes place before Clarke finds the ship. Better contextualize the fact that he is on a soul searching journey and add more character moments to better flesh him out early on.

Agreed 100%

 

[PhoncipleBone]

MoS flashbacks explain Clark's struggle and motives. What's the difference?

Batman Begins handled it extremely effectively. Man of Steel was sloppy. But that is just my opinion.

 

[SCULLIBUNDO]

MoS flashbacks explain Clark's struggle and motives. What's the difference?

Batman Begins has Bruce develop and grow from one state as a character to a wildly different state of character. ie: A character arc.

Man of Steel has Clark go from saving people as a kid while bullied while not wanting to hide his power, to saving people when he's older but hiding his power, to saving people in a suit. He doesn't change all that much - if at all, as a character. It's a really shallow through-line.

 

[PhoncipleBone]

Batman Begins has Bruce develop and grow from one state as a character to a wildly different state of character. ie: A character arc.

Man of Steel has Clark go from saving people as a kid while bullied, to saving people when he's older, to saving people in a suit. He doesn't change all that much - if at all as a character. Nobody in that film does.

At least Jor-El went from being awesome to still being awesome. One of the few bright spots for me. I would watch the shit out of a Jor-El movie with Crowe.

 

[SCULLIBUNDO]

At least Jor-El went from being awesome to still being awesome. One of the few bright spots for me. I would watch the shit out of a Jor-El movie with Crowe.

If they were going to spend half an hour with Jor El, I would have liked the film to have started with Jor El watching humans on Earth curiously - like a scientist might watch and admire an ant colony, almost like his secret fascination a midst all of the political kryptonian nonsense; so that his decision to send Kal El to Earth wasn't some happenstance thing when he's deciding where to direct Clark's ship when the crisis came about.

 

[Dead]

To be quite honest, I think that in the end creatively Nolan, Goyer and Snyder just figured that the full true origin of Superman is so ingrained in popular culture that they felt it wasn't necessary to do a full 100% straight up origin re-telling, and figured most people would be able to contextualize on their own all the material of the film.

They included what they thought was relevant to the story of their film, but in the end, the film does suffer because you don't spend a little more time with Clarke as a kid and you don't spend more time with grown up Clarke before he finds the ship. The story threads are there, the emotional crux is there, the thematic journey is there, it's just that the chain holding all of them together is missing a couple of crucial links.

Someone said this movie was like Superman 1 and 2 in one film, and that is kinda right. And though some people will say that this movie was already long at 143 minutes, I think this should have easily been 160 minutes in order to flawlessly pull off this approach.

It's kinda the opposite approach that Amazing Spider-Man took actually, where it said fuck it and just redid the origin chronologically. That actually hurt that movie because it was so soon after the original origin story, and this one was barely any different at all.

 

[PhoncipleBone]

If they were going to spend half an hour with Jor El, I would have liked the film to have started with Jor El watching humans on Earth curiously - like a scientist might watch and admire an ant colony, almost like his secret fascination a midst all of the political kryptonian nonsense; so that his decision to send Kal El to Earth wasn't some happenstance thing when he's deciding where to direct Clark's ship when the crisis came about.

Was it really 30 minutes of Krypton in the beginning? I know many people point that out, but that was the only part of the film that seemed to move fast for me.

 

[Dead]

Was it really 30 minutes of Krypton in the beginning? I know many people point that out, but that was the only part of the film that seemed to move fast for me.

It's closer to 15 I would say.

 

[Jarmel]

Batman Begins has Bruce develop and grow from one state as a character to a wildly different state of character. ie: A character arc.

Man of Steel has Clark go from saving people as a kid while bullied while not wanting to hide his power, to saving people when he's older but hiding his power, to saving people in a suit. He doesn't change all that much - if at all, as a character. It's a really shallow through-line.

It's a Greatest Hits version of his life. It's absolutely shallow. Snyder put the bare minimum of character development in the film and did it in such a half-assed way.

Like I said before.

This movie needed a good solid 10 minute or so chunk that takes place before Clarke finds the ship. Better contextualize the fact that he is on a soul searching journey and add more character moments to better flesh him out early on.

I just think the film needed to be in chronological order. Doing the flashbacks did nothing for the story except telegraph what emotion you were supposed to be feeling. If they had done a few expanded scenes when he was a kid inbetween these setpieces, like just a normal dinner at the Kent household would have done wonders for the film. Instead it feels like Snyder needed to throw an action setpiece every 15 minutes into the film.

 

[SCULLIBUNDO]

It's a Greatest Hits version of his life.

Yeah, that's probably the easiest way to describe it. It's like Goyer and co went through all the most-lauded Superman material, selected the best ideas, stuck them in the film and made no effort to attempt to form the connective tissue between them.

 

[Jarmel]

Yeah, that's probably the easiest way to describe it. It's like Goyer and co went through all the most-lauded Superman material, selected the best ideas, stuck them in the film and made no effort to attempt to form the connective tissue between them.

They tried too much without any of the necessary development and background. Yes the film would have been slower but it would have given the movie the emotional core it so desperately needs. I wouldn't be surprised though if Snyder and Goyer hate the Clark aspect of Superman. They don't try to build scenes up instead they just dump it and expect a good soundtrack to do the work for them.

MoS would work much better as a sequel, where they didn't have to do so much character development, than it does as an origin story.

 

[SCULLIBUNDO]

They tried too much without any of the necessary development and background. Yes the film would have been slower but it would have given the movie the emotional core it so desperately needs. I wouldn't be surprised though if Snyder and Goyer hate the Clark aspect of Superman. They don't try to build scenes up instead they just dump it and expect a good soundtrack to do the work for them.

MoS would work much better as a sequel, where they didn't have to do so much character development, than it does as an origin story.

I don't follow you.

 

[Jarmel]

I don't follow you.

I thought the soundtrack was ok at times. Like when he was first trying to fly.

I just think that if they had done the film in a chronological order and tried to flesh out Clark as a human being rather than a god-like character, it would have given more weight to his later adult years when he feels lost. Instead the flashbacks all lean more heavily as a way of showcasing his alienness and don't try to balance the human component. It's glossed over fairly quickly so that the movie can get to the Superman action sequences and Superman throwing on the cape. It covers too much of his life too quickly and without any real insight into what makes Clark as a human tick. That was the fantastic part about Begins is that the audience understands Bruce as a character long before he even thinks about putting on a suit.

 

[Shaanyboi]

Batman Begins has Bruce develop and grow from one state as a character to a wildly different state of character. ie: A character arc.

Man of Steel has Clark go from saving people as a kid while bullied while not wanting to hide his power, to saving people when he's older but hiding his power, to saving people in a suit. He doesn't change all that much - if at all, as a character. It's a really shallow through-line.

Clark certainly goes through an arc. He starts a total loner. He's been told by his dad for years and years that humanity would be terrified of him. He's under the belief that he needs to hide himself - despite the fact that by his own very nature, he is compelled to help people with his abilities when he knows he can. If he did reveal himself, would he be taken away? Would his parents be taken away? Would he be tested on? Would the governments of the world just fire fucking nukes at him?

And then, by the nature of his heritage and Zod's invasion, he's forced to trust humanity in a way he maybe has never had to do before. He's thrust into the biggest coming-out party in the history of the world. At the start of things, his father's paranoia is pretty justified. They don't care about shooting Superman alongside Faora and Namek. They arrest him. And even after the fact, they're constantly trying to take a peek into finding who he is and where he is.

But by embracing his own abilities, he knows he can deal with it. He can knock down their spy drones the way Batman grabs someone's hand as they try peeking under his cowl. He doesn't have to worry about bullets really. And really, he only accepts arrest because it makes them feel better. They just have to accept him and deal with it. I'd say that's an arc.

 

[SCULLIBUNDO]

Clark certainly goes through an arc. He starts a total loner. He's been told by his dad for years and years that humanity would be terrified of him. He's under the belief that he needs to hide himself - despite the fact that by his own very nature, he is compelled to help people with his abilities when he knows he can. If he did reveal himself, would he be taken away? Would his parents be taken away? Would he be tested on? Would the governments of the world just fire fucking nukes at him?

And then, by the nature of his heritage and Zod's invasion, he's forced to trust humanity in a way he maybe has never had to do before. He's thrust into the biggest coming-out party in the history of the world. At the start of things, his father's paranoia is pretty justified. They don't care about shooting Superman alongside Faora and Namek. They arrest him. And even after the fact, they're constantly trying to take a peek into finding who he is and where he is.

But by embracing his own abilities, he knows he can deal with it. He can knock down their spy drones the way Batman grabs someone's hand as they try peeking under his cowl. He doesn't have to worry about bullets really. And really, he only accepts arrest because it makes them feel better. They just have to accept him and deal with it. I'd say that's an arc.

Yeah.. nothing you just said constitutes a character arc. His 'coming-out party' isn't even character-driven, it's plot driven. He comes out of hiding because he is called out of hiding.

Also, how is he not embracing his abilities when he's saving people from collapsing oil rigs? His 'arc' is incredibly shallow and confused, if non-existent. Nothing before he puts on the suit suggests he wouldn't smash their spy satellites looking into him if he could fly at that stage.

The problem is that as a kid he is both wanting to 'just continue to be your son'/a normal kid AND save a bunch of people/use his powers. It was Jonathon Kent that wanted him to keep his abilities a secret as a kid, not Clark. He just wavers back and forth through the movie and so there is no identifying moment of change.

 

[DerZuhälter]

The problem is that as a kid he is both wanting to 'just continue to be your son'/a normal kid AND save a bunch of people/use his powers. It was Jonathon Kent that wanted him to keep his abilities a secret as a kid, not Clark. He just wavers back and forth through the movie and so there is no identifying moment of change.

The problem with Clark's motivation lies in big part with the characters of Jor-El and Jonathan Kent. Clark was often depicted as blank canvas filled with the moral code and ethics of is human side and the training of his Kryptonian side. I remember that the Donner version had Clark stay a couple of years in his fortress of solitude to train.

This could have been made into a great point in MoS.
Jor-El who at Clark's birth already said to Lara's "He'll be an outcast. They will kill him." "How? He'll be a god to them."

Jor-El should have been the force behind Clark's will to train his abilities and use them. He should have told him that he is something better than them. While Jonathan should be the origin of his moral strenght and honor. Instead Jor-El is the guiding light morally as well as the one who makes him unleash his potential.

Jonathan Kent appears funny enough to be the representation of xenophobia (just like Lara-El) and quite morally ambigious, for whatever reasons:
- "No matter what kind of man you'll become Clark, good or bad, you'll change the world."
- "What should I have done... let them all die?" "Maybe"
- " you will have to make a choice, a choice if whether you will stand proud infront of the human race or not.
- "I wanted to hit that kid" "I know you did, part me of me even wanted you to, but then what?"

Goyer and Snyder decided against the traditional roles of Jonathan as the morals and Jor-El as the strength of Superman and made choice a huge deal in the movie.

Free birth and the choice to be whatever one wanted to be. "What if a child dreamed of becoming something other than what society has intend for him. What if a child aspired to something greater?"

Jonathan giving Clark all these moral choices to decide for himself.

And to what does that lead us? Clark being morally unfocussed, even walking into a church for moral and spiritual aid.
This of course was the biggist "in your face" offender along the ride of Space-Jesus references (him being 33, the Jesus-shot side to side in the church, the Jesus-shot while getting out of Zod ships reminiscent of the Superman Returns Jesus-shot, him even asking Jonathan "Why did god make me that way?", Clarks actions being described as "divine interventions" by Pete Ross' mom, up to the point were Faora describes hereself as the evolutionary superior because of her lack of morals which could be a feel good point to Creationists everywhere... well fuck this shit).


These are the clearest offenders in terms of characterization which then lead to neck-snapping (instead of putting hands in front of eyes, flying away with Zod in a choke-hold) and Clark deciding against genocide against the human race, but blowing up the entire genesis ship and whiping out what was left of Krypton with the reason:
"Krypton had it's chance"

That's why anyone arguing that Supes killing the last Kryptonian was such a hard choice for him... now he is alone, and whatever: Nope! He basically whiped out his own race before he killed Zod.

The movie is filled with weird inconsistant choices like that and I'm not even going to start nitpicking the whole "atmosphere change, when are Kryptonians super-powered and when not, and how strong are they?" thing.

 

[sketchsanchez]

sculli got banned? dafuq?

 

[Salvor.Hardin]

sculli got banned? dafuq?

You can't just go around praising Superman Returns and expect nothing is going to happen. It's the moral equivalent of condoning genocide.

 

[JB1981]

Lol he probably requested it. He does that a lot

 

[Ignatz Mouse]

I'm up there in age, too. I do not mind the wanton diestruction as long as there are real emotions and consequences. The avengers was neat because you could taste how desperate those characters were during the invasion. There were moments where the team looked defeated. With that movie, you saw the reaction in the end after the conflict was over through the news snippets. Yu saw deaths acknowledged, people react differently to the avengers but ultimately you were left with a sense of unity not just within the avengers in of themselves, but within the community . That was real and the very reason i hated man of steel. In MOS, people are trapped under buildings and with no passage of time, supes stops, makes an immigrant joke, and plants one on lois. At that point, i walked out for the first time sinse kisrten dunst begged toby to kiss her during a funeral.

How'd you do with the part in the Avengers where it's casually mentioned that Loki has killed 80 people, and then Thor makes a joke?

The mayhem in comics movies it out of whack, period. MoS is the just the most, worst example.

 

[jmdajr]

525 million world wide. I guess it has finally broken even.

 

[Bit-Bit]

525 million world wide. I guess it has finally broken even.

No way is the budget $500million .

 

[jmdajr]

No way is the budget $500million .

Marketing was like 200 million, and a percentage goes to the theater.

Movies usually have to make double to be considered successful. At least at the Box Office.

 

[Ignatz Mouse]

Marketing was like 200 million, and a percentage goes to the theater.

Movies usually have to make double to be considered successful. At least at the Box Office.

But also, this film is a merchandising monster. So it could have done OK with even less.

 

[Zabka]

The last number I saw was $160 million for product placement and commercials

 

[xam3l]

What a hell was that? Krypton is full of penises.

 

[Bobby Roberts]

"You're a madman, Wongburger, that dick ship will NEVER fly!"

 

[Messypandas]

JOR-EL WAS RIGHT. THE PODS DO LOOK LIKE DICKS

 

[Anton Sugar]

What a hell was that? Krypton is full of penises.

Seriously, who approved this?

 

[Messypandas]

Seriously, who approved this?

Dick Donner

 

[shira]

The last number I saw was $160 million for product placement and commercials

Has Nolan ever had product placement - IDK if cars count. Jag in Memento, Hyundai/BMW in Inception, Lambo for Batmen.

 

[J10]

How'd you do with the part in the Avengers where it's casually mentioned that Loki has killed 80 people, and then Thor makes a joke?

The mayhem in comics movies it out of whack, period. MoS is the just the most, worst example.

Loki was already in custody at that point and there was nothing else for them to do besides find the Tesseract. Superman pausing for a makeout session in the middle of a catastrophe is a much bigger offense and does not compare.

 

[Ignatz Mouse]

Loki was already in custody at that point and there was nothing else for them to do besides find the Tesseract. Superman pausing for a makeout session in the middle of a catastrophe is a much bigger offense and does not compare.

I'm referring to the inappropriate jokiness about mass murder, not the action of the moment.

 

[dan2026]

Loki was already in custody at that point and there was nothing else for them to do besides find the Tesseract. Superman pausing for a makeout session in the middle of a catastrophe is a much bigger offense and does not compare.

I wish people wouldn't call it the Tesseract.

Its the Cosmic Cube. Its always been the damn Cosmic Cube.
Its supposed to sound slightly goofy.

 

[Lionel Mandrake]

What a hell was that? Krypton is full of penises.

"And now, Zod, I will turn you into what you always truly were. A huge Dick."

 

[J10]

I'm referring to the inappropriate jokiness about mass murder, not the action of the moment.

The joke wasn't about mass murder, it about kinda not wanting to be related to a mass murderer. The punchline was, "He's adopted."

I wish people wouldn't call it the Tesseract.

Its the Cosmic Cube. Its always been the damn Cosmic Cube.
Its supposed to sound slightly goofy.

This is dumb.