DC Universe

[ShyViolet]

Happy birthday! (belated)

[Ben]

[ShyViolet]

Here's an interesting view of this film (from Amazon), which is apparently coming to DVD on Nov. 28: (my school is also having a screening in a few weeks)

Why The World, Lois, and Moviegoers Don't Need a Superman..., September 21, 2006
Reviewer: Phlegmbot "Phlegmbot" (NYC) - See all my reviews
In the new Bryan Singer movie, Superman returns after a five-year absence and discovers a world that's changed -- symbolized perhaps most powerfully by a Pulitzer Prize-winning article written by Lois Lane and sporting the title "Why the World Doesn't Need a Superman."

And, boy, has she hit the nail on the head.

While the film could have taken a look at the things Superman is powerless to stop, from global warming to civil wars, government corruption to battles for oil and weapons of mass destruction, it instead focuses solely on the Last Son of Krypton's personal pain dealing with a world in which a drab and uninteresting Lois Lane--Kate Bosworth--has a new fiance, a son born out of wedlock, and a pal named Jimmy Olsen who is so useless, he can't even take a good picture.

You will believe a man can fly...and that he can break the sound barrier and do battle with the laws of physics in ways never anticipated or considered in previous superhero flicks. He WILL amaze you.

Watching Superman fly into space to listen for trouble is a wondrous moment. You'll be astounded watching him save both a space shuttle and an airplane. You'll smile gleefully when he takes Lois on her first flight in at least five years as Brandon Routh fills the boots and cape of Christopher Reeve admirably. As a new, young actor he doesn't have the chops Reeve had, but he may get there by the time a sequel comes around.

Lois's incessant whininess and bitterness may not solely be the fault of Bosworth, as this is not your mother's Lois Lane -- Margot Kidder's Lois took on armed purse snatchers, punched-out super villainesses from Krypton and was able to leap underneath an elevator in the Eiffel Tower in a single bound. While today's Lois takes a load of beatings without even smudging her lipstick (perhaps she's got a little Superman in her), she's not the plucky independent woman of yore -- she can't even hail a taxicab on her own. What kind of city girl is THAT?!

Kevin Spacey's fun Hackmanesque performance as the treacherous Lex Luthor is a clear homage to the 1978 Richard Donner film, and it's not the only one: from static on a radio signaling Superman's return (reminiscent of the static caused by a magical green crystal in "Superman: The Movie") to a shot of three people trapped behind a glass door (think of the three Kryptonian villains and their oddly shaped prison flying through space); from lines and music cues lifted from that first movie to a small I.D. tag reading "Addis Ababa" (where Lex first discovered Kryptronite) to the dedication to Christopher and Dana Reeve at the end. But while homage is great, there is one very important thing this film missed: the joy of Superman.

This joy is something not overlooked by the people who had brought us "Lois & Clark: The Nrew Adventures of Superman," "Smallville,"--the story of a teenage Clark Kent--and even the syndicated "Superboy"--the less-sophisticated tights-'n'-cape version of "Smallville."

Those other incarnations of Superman have their faults, but the success of each shows what a powerful force Superman is in popular culture. We have all seen a lot of big blockbuster movies -- terminators and spider-men, guys in bat outfits and stories of famous ships, historical figures, fictional gods, and well-known battles of this world's past -- but none of them, in my experience, elicited the complete and total silence, the utter anticipation, this movie did when the credits began.

The audience was as silent as if they were in prayer.

And they were silent when the movie let out -- wondering why they hadn't prayed for a better script.

I'm going to pinpoint the moment this film loses it's way (don't worry, no spoilers): Superman performs a host of heroics throughout the city of Metropolis that will leave you breathless and then, just as the movie gets going (despite some hauntingly disturbing moments that will have New Yorkers remembering 9/11), Superman leaves Metropolis to go tackle Lex.

Both Superman and the movie go out to sea. Until this turn of events, the movie was bordering on Magical.

When all is said and done, you don't even get The Moment -- that big moment when you want to cheer as Superman defeats the bad guy. It simply isn't there, because he never does.

The film merely gets dark and it gets mean. It becomes grim and perilous, and all for no reason, with no real consequence. As, if you're going to venture into true anger and hatred and death and darkness...in the end, someone had better have learned something about themselves and/or the world.

And nobody does.

The needless grim and peril is in part accomplished by putting the life of a young child in danger. Sure, some fantastic contemporary films have put children in peril, but they've succeeded because of their ability to do so with a sense of fun ("Spy Kids") or a sense of realism ("Stand By Me"); when it's done wrong, it's unforgivable ("Indiana Jones and the Temple of Doom" [which, personally, I loved]; "Dennis the Menace"). There is nothing "super" about a child almost dying just minutes after watching his mom barely escape from a beating that put her in mortal danger -- even when there is a "Super" payoff.

And Superman the new movie never quite crawls out of the mire after that.

Our hero performs one more super-feat once the boy doesn't quite die, but there are no stand-up-and-cheer moments like those that Richard Donner gave us. Where was the "You've got me? Who's got you?" as Reeve's Superman saves both Lois Lane and a crowd on the street from a falling helicopter? You'll find no shock and awe as when the '70s Superman burrows to the Earth's core and fixes the California fault line, and then turns the world back to save Lois Lane (whether you bought it or not). And you don't get to enjoy any real sense that Luthor's received his comeuppance (his punishment is not brought about by the Man of Steel, and is paltry at best).

And then the movie ends, after a long and dreary denouement where characters go back to their lives and nothing terribly new or interesting happens -- although you think it's going to.

While there are questions, such as why it took Lois five bitter years to write her Pulitzer Prize-winning article, or what Clark Kent's excuse is for being gone for so long from The Daily Planet--of which its office and characters are relegated to virtual non-entities--the biggest one remains unanswered by Lois Lane as she tries to come to terms with a world where Superman has returned. Her new article puts forth the question of "Why the World Still Needs Superman"...but she lacks inspiration and produces nothing but a tear and a blank page.

Perhaps she can be inspired to work on the next script -- no one seemed terribly inspired to work on this one. The "complex" problems of Superman come off like teenagers trying really hard to be "deep." If you see it, leave just after Superman saves The Daily Planet globe from a fall and save yourself from the depressing ending.

I still like the movie, I think it has its faults but there's good and bad. But I understand that Superman is something people have loved for so many years and a re-interpetation might be "interesting", but as far as staying true to the original vision....well, it doesn't. It has its own agenda, very different from the comic, previous films and/or shows. Basically it goes to a very dark place. Since the Superman mythos is built on light and hope, I can this why this film was seen as a betrayal of those values by a number of fans.

[Ben]

But it doesn't go to a very dark place. It just thinks it does.

[ShyViolet]

Here's a handy guide to all the different versions that were neve made over the years (the Agony Booth article is good too, but extremely long and dense) This gives you a good outline of all the changes made:

http://en.wikipedia.org/wiki/Superman_Reborn

[Ben]

I think one of the problems Superman films face is a strong villain. I mean, we all know such characters as Braniac and Doomsday and the rest, but the average Joe isn't a comic book hound, so it's always Lex Luthor.

The three super villains were a good way to bring in new faces for the films, and even Vaughn in III is essentially the original wealthy incarnation of Luthor.

They need to think about creating a big, new villain for the next film which, if it IS again in Singer's hands, is doomed anyway...

[ShyViolet]

I think one of the problems Superman films face is a strong villain.

That's a very good point Ben. Actually, this was also brought up in a TV/pop culture one-shot magazine I had years ago (I think it used to be called "Wrapped In Plastic") They analyzed the entire first season of Lois and Clark, and they said that one of the hardest things about any Superman film/series is creating tension around him and his situation, because he's so infallible. That's why you need all kinds of villains, because if there's only one, Superman would obviously beat him every time!

(But the fact remains that the best episodes in that series were the Lex Luthor ones, because he was pretty much the only somewhat credible villain who posed any kind of threat. When Superman faced one of those campy bad guys, it was impossable to believe that he couldn't beat them in five minutes or less! )

if it IS again in Singer's hands, is doomed anyway...

I'm just curious: if they do end up replacing him, would you also want Routh and Bosworth replaced?

[Ben]

Routh's Supes needs to smile more. Bosworth's Lane needs to get fiesty and inquisitive again.

[ShyViolet]

Bosworth's Lane needs to get fiesty and inquisitive again.

I know. She was a journalist??? As a former journalism major, I think this woman would have NEVER made as a reporter. You have to really speak up for yourself (which can be very hard) not stare with glazed doe-eyes and barely say a word because you assume whomever you're talking to is overwhelmingly dazzled by your raptoruous beauty.

Routh's Supes needs to smile more.

Maybe. But overall I really, really liked him.

[Dacey]

Um, isn't Routh under a three-picture contract with these films (meaning that he can't be "Replaced")?

Here's the lowdown on the upcoming SR DVD:

http://www.superherohype.com/news/super ... hp?id=4782

[ShyViolet]

Um, isn't Routh under a three-picture contract with these films (meaning that he can't be "Replaced")?

I know. I was just asking Ben theoretically

Here's the lowdown on the upcoming SR DVD:

Thanks, WJ! The deleted scenes look really cool. But it's still weird how SO LITTLE screen time is given to Lois' kid, he should have gotten MUCH more play. SPOILER! ***

What does he think of things? Does he know that he's "different"? How could that moment when he throws the piano be the first time that ANYONE noticed that he had super powers???

[ShyViolet]

Here's one script from the editing room: another Bryan Singer film, Apt Pupil. (a film I actually do like a lot, except for the flat, stupid, nonsensical ending that does absolutely no justice to the Stephen King novella. Plus, the kid is supposed to be 13, not 16, but I heard that brought up too many issues during the making of the film, what with the sexual themes and all.)

It's a bit "edgy" so...I tried to "blank out" the more risque stuff.

I realize that these take up space, so I won't put one up again unless it's relevent to a film currently in theaters.

APT PUPIL: THE ABRIDGED SCRIPT™
By Rod Hilton
FADE IN:


INT. FILM STUDIO - DAY


STUDIO EXEC
A movie about evil, eh? Well, is it disturbing?


DIRECTOR BRYAN SINGER
Nope. I didn't want to make a disturbing film about evil, so I plan on cashing in on the holocaust to make the audience think I have made a clever, disturbing movie.


STUDIO EXEC
Brilliant! Just don't be controversial or anything.


DIRECTOR BRYAN SINGER
Er, but it's about the holocaust.. how can I..


STUDIO EXEC
Can you also have Brad Renfro in it? He's cute.


INT. IAN MCKELLEN'S HOUSE - DAY


BRAD RENFRO
Hello, Ian. I know you're a Nazi war criminal because I saw your picture and it looked like you so I checked for prints on your mailbox.


IAN MCKELLEN
I'll just call the..


BRAD RENFRO
Police? No, because then I'll tell them what you did and you'll be in deep s***


IAN MCKELLEN
Maybe I'll..


BRAD RENFRO
Kill me? No, because if you did, someone would uncover all the evidence hidden in my house that tells what you did. Did I cover all the possible plot holes?


IAN MCKELLEN
Most of them. What do you want? Money? Booze? Someone killed? **** ***?

BRAD RENFRO
Nice that you noticed the sexual tension between our characters, but no, none of those could fill a whole movie. I want you to tell me stories about being a Nazi. Can I have a glass of milk? And some cookies. Me like cookies.


IAN MCKELLEN
Ok. Well, me and my evil nazi friends were tormenting some Jews when....


AUDIENCE
Wow. This is going to be a really disturbing movie about what the Nazis did.


The soundtrack goes silent. We see a montage of shots where IAN is talking. We assume BRAD is listening, although, since he is incapable of acting 'disgust' or 'interest', we won't see his face.


DIRECTOR BRYAN SINGER
Don't worry, audience. This won't disturb you in any way. I made sure of it! You also won't have to leave the theater with anything to think about.


INT. SCHOOL - DAY


DAVID SCHWIMMER
I am your guidance counselor. Let's see.. you are 16 and a senior.. you're at the top of your class.. and I've never had to talk to you before. Has this movie made it clear yet that you're smart?


BRAD RENFRO
Yep.


DAVID SCHWIMMER
Good. Well, your grades are dropping. You need to pull them up.


INT. IAN MCKELLEN'S HOUSE - DAY


BRAD RENFRO
My grades are dropping.


IAN MCKELLEN
I will help you get better grades! But it will require a lot of work, studying, and determination.


BRAD RENFRO
I can do it!


CUE: "Eye of the Tiger"


INT. IAN MCKELLEN'S HOUSE - DAYS LATER


BRAD RENFRO
I got my grades up! I am a winner!


IAN MCKELLEN
You did it!


BRAD RENFRO
No! -WE- did it!


IAN MCKELLEN
Hooray!


BRAD RENFRO
Now tell me some more stories before I kill you.


IAN MCKELLEN
Why are you so obsessed with WWII anyway?


BRAD RENFRO
(pause)
The writers don't seem to know. Neither do I.


Suddenly, IAN MCKELLEN kills CASEY JONES, a bum.


AUDIENCE
Ok.. this is a Bryan Singer film. He did The Usual Suspects.. here comes a really clever, witty, and surprising ending.


IAN is caught for being a nazi and kills himself.


AUDIENCE
Any moment now..


DAVID SCHWIMMER
Brad, I think you've been talking to a Nazi.. I will destroy your life for no reason as a result. Just wanted you to know.


AUDIENCE
Oh man.. Brad's gonna kill David..because the evil has been passed down to him from Ian.. it's symbolic.. it's clever... it's...it's...


BRAD RENFRO
Go away or I'll say you molested me.


DAVID SCHWIMMER
Ok. Bye.


AUDIENCE
IT'S DULL AS S***!


END

[ShyViolet]

Hey Ben, how would be feel about Sam Ramie taking a shot at this?

[Ben]

Do you mean Rami??

On Superman? Sure. Give it to someone who <I>gets</I> the material and didn't build up a career making quirky movies with twist endings that were based on other people's (stronger) material.

Rami handled Spidey extremely well - they are my favorite hero films after the first and, to an extent, second Supes movies and he at least treats the characters with respect.

[Randall]

You mean Remi?
Raemee?
Ramy?


I wasn't sure if Ben's answer was a joke or not, but just to clarify--- the director of the Spidey films is actually "Sam Raimi". And having him direct a Superman film would be very interesting.