Batman v Superman: Dawn of Justice: Mini-review


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Ben Affleck

Ben Affleck without his mask

C Batman has always been a somber, brooding character, especially in recent comics and movies, but director Zack Snyder‘s version of the Dark Knight (played by Ben Affleck) makes most of the others incarnations seem like Adam West in comparison. Throw in an equally depressing version of Superman (Henry Cavill), and their eagerly awaited encounter, Batman v Superman: Dawn of Justice is perhaps the most gloomy, slow-moving, and downright unenjoyable superhero movies ever made. 

The centerpiece of Batman v Superman is the showdown between the two heroes, orchestrated by an insane Lex Luthor (Jesse Eisenberg), who manipulates Batman and Superman into hating each other. When they both survive their epic showdown, Luthor unleashes an even more powerful threat on the world, Doomsday, a giant superpowered monster he created from Kryptonian DNA.

Admittedly, saving the world from diabolical business tycoons and mutant behemoths is serious work, but never before had I seen a superhero movie in which nobody, with the exception of the manically hysterical Luthor, had a single bit of fun. Snyder apparently set out to make sure that the audience wouldn’t have any fun either. Most of the set pieces in Batman v Superman take place at night, often in pouring rain in rundown decrepit buildings. The film moves at a near glacial pace, taking nearly two hours of draggy exposition to lay the groundwork for the heroes’ battle royal and to invent a mechanism whereby the all-too-human Batman can credibly take on the seemingly invulnerable Superman. But the filmmakers aren’t content with their already overstuffed central storyline. Instead, they introduce Wonder Woman (Gal Gadot), who helps fight Doomsday, and drop hints about other members of the Justice League (DC Comics’ version of Marvel’s Avengers), all for the purpose of laying the groundwork for future sequels and spinoffs. What gets lost in all the gloom and doom are solid performances by Affleck and Cavill and some genuinely exciting set pieces, especially those featuring Batman in action. These sequences reveal the movie that Batman v Superman could easily have been with a bit more of an upbeat tone and faster pace. Instead of epic excitement, however, Snyder and the producers seemingly went for epic tragedy, and the result for audiences will be an epic disappointment.   
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The Man from U.N.C.L.E.: Mini-review


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Alicia Vikander

Alicia Vikander is far more stylish than her male counterparts here

CUnlike the outrage that greeted director Guy Ritchie‘s attempts to re-imagine Sherlock Holmes in the person of Robert Downey, Jr., few people are likely to become upset about his reworking of the 1960’s TV series The Man from U.N.C.L.E. Even fewer people will leave the theater excited about Ritchie’s movie of the same name, whose only saving grace is a dazzling assortment of stylish period outfits worn by the lead actors.

As on the TV series, the movie version of Man from U.N.C.L.E. features top American agent Napoleon Solo (Henry Cavill) and his Soviet counterpart Illya Kuryakin (Armie Hammer) working together on a mission, this time to stop a group of Nazi sympathizers from acquiring an atom bomb. While this plot is similar to many used on the TV series, the film goes into far more detail about the characters, giving Solo a back story as a master thief pressed into service for Uncle Sam and establishing Kuryakin as a troubled guy with anger management and Daddy issues. Along the way, the two meet plenty of beautiful women including the chief Nazi scientist’s daughter (Alicia Vikander), who may be an ally, and a femme fatale (Elizabeth Debicki). who definitely isn’t.

The Man from U.N.C.L.E. is always fun to look at, in large part because of Joanna Johnston‘s sure to be Oscar nominated costumes that Cavill, Vikander, Debicki, and a host of extras seem born to model. The film aspires to be another one of Ritchie’s light campy romps, but, while it’s light and breezy enough, it’s not consistently funny and sometimes annoyingly smug. As a spy thriller, Man from U.N.C.L.E. is a total joke, with poorly staged action scenes and an inane plot. Plus, Ritchie’s directorial flourishes such as split screen action sequences and unnecessary flashbacks only confuse and slow down the story. The Man from U.N.C.L.E. is a movie that knows it’s stylish but thinks it’s much funnier and more sophisticated than it is.   
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