Respond to these rapid questions in our Batman V Superman quiz and we will tell you which Batman V Superman character you are. Play it now.
In “Batman v Superman: Dawn of Justice,” director Zack Snyder crafts an epic superhero film that is state-of-the-art in every way. If you prefer your movies to be ponderous, disorganized, and gloomy, then this is a compliment. However, if you prefer your movies to be varied in tone from film to film and scene to scene, and a soft spot for storytelling that actually tells a story, rather than doing an occasionally inspired but mostly just competent job of setting up the next chapter in a Marvel-styled franchise, then this is a warning.
In yet another flashback, young Bruce Wayne witnesses his parents’ murder by a gun-wielding hoodlum, which is followed by a traumatic encounter with a flock of bats in a cave near stately Wayne Manor, which serves as a bracketing trauma. It appears at first that this sequence, which was co-written by Chris Terrio and David S. Goyer (“Blade,” “Dark City”) and directed by Zack Snyder (“Man of Steel,” “Sucker Punch,” and others), is just another visit to a dried-up well. But it all makes sense when you get to the next scene, which is a re-enactment of the Metropolis-leveling “Man of Steel” showdown from the perspective of Bruce Wayne/Batman (Ben Affleck), who witnesses hundreds of members of his adopted professional “family” killed when Wayne Industries’ Metropolis office is damaged in the super-fight. [Note: the sequence also portrays Wayne as a somewhat detached one-percenter who is ashamed of having taken his work “family” for granted, which is a nice touch.]
This is the most moving and original sequence in the film, in large part because it takes a long-standing criticism of “Man of Steel”—that the supposed Boy Scout from Krypton was callously indifferent to collateral damage—and retrofits it so that it appears to be something “Man of Steel” always intended to do, the better to provide strong, simple motivation for Bruce. After being re-traumatized by a terrorist attack on the scale of 9/11 that kills dozens of his employees, including the mother of a young girl, he channels his rage and sense of helplessness into a preemptive war against Superman, who he plans to carry out with biomechanical armor and Bat-tech fortified with Kryptonite. He views Kal-El as a clueless and careless false god whose powers must be neutralized in order to prevent humans from becoming so accustomed to worshiping “aliens” that they set the stage for a takeover by more Zods.
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In the film, Bruce is referred to as the Caped Crusader more than any other Batman film because, more than any other Batman film, “Batman v Superman” portrays the Caped Crusader as a terrifying-and-awesome manifestation of ordinary neuroses, practically a lycanthropic rodent-beast who emerges at night, summoned by his own monogrammed spotlight-moon. Superman, on the other hand, appears to be a more balanced character: aside from the presence or absence of glasses or a cape, as well as the stress of maintaining his cover story (he becomes so preoccupied with an unauthorized investigation into Batman’s vigilantism that he neglects his regular duties at the Planet), Clark Kent and Superman are essentially the same person.
Batman V Superman Quiz
The title promises a fair distribution of screen time throughout the film. Although there are several iconic DC characters in this film, such as the fidgeting and yammering Lex Luthor (Jesse Eisenberg), the ageless Amazon warrior Wonder Woman (Gal Gadot), the ace reporter and Superman gal pal Lois Lane (Amy Adams), Daily Planet editor Perry White (Laurence Fishburne), and Ma Kent (Diane Lane), it is ultimately an overstuffed, overpopulated, and awkwardly plotted Batman film. The decision was made at the last minute by Warner Bros., who preferred the financial safety of Batman over the recently revitalized Superman, according to industry reports.
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Unfortunately, as the film progresses, the script’s early promise becomes less apparent. Despite the fact that you see every card that’s about to be played ten minutes before it’s played, director Zack Snyder doesn’t just slap each one down on the table with gusto; instead, he keeps pointing to it and telling you what rank and suit it is. Even though we should have guessed that the identical first names of Bruce’s dead biological mother and Kal-adoptive El’s mother—Martha—would be used in a later scene, the film is so concerned that someone might miss the connection that it has Thomas Wayne croak “Martha” with his dying breath, then finds ways to keep repeating “Martha” over the course of the next two hours, building toward a reprise-flashback of Bruce’s parents’ murder that will bring latecom
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There are other repetitive elements along these lines, such as the characters’ repeated vocal assurances that they are fighting in depopulated areas, which serves as a clumsy defensive strike against the “Man of Steel” cynics in the audience. When you consider how little effort has been put into embellishing the characters in Snyder’s “Nashville”-sized cast, none of whom come alive in the same way that Tim Burton’s, Christopher Nolan’s, or even Joel Schumacher’s Batman films did, it all seems pointless. Luthor, played by Eisenberg, could have been a fascinating third panel in the film’s gallery of lonely and haunted man-children (in one particularly harrowing scene, he rails against “daddy’s fist and abominations”), but he mostly comes across as a 21st century brogrammer, complete with tics, threats, and unwanted physical advances. Adams’ Lois Lane is reduced to the status of a poker-faced damsel in distress once more. The Alfred played by Jeremy Irons isn’t up to the standards of Michael Gough or Michael Caine. Gadot, a lithe beauty with a musical accent and a steely demeanor, is given less depth than a typical Bond girl, which is understandable. Despite the fact that the film shows little interest in explaining or justifying its tangled subplots, the film’s detours into franchise-building are often counterproductive. Perhaps the most misguided decision is a dog-leg near the end: just as the story is about to gain momentum, it pauses to read off the DC heroes who will appear in the first full-fledged Justice League movie, which is scheduled for release next year.
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“Batman v Superman” attempts to compensate for these and other flaws by utilizing a large scale and production budget. There are figuratively and literally dark images throughout the two-and-a-half-hour film, which is louder than an airstrip at O’Hare International Airport, and which engenders “excitement” with shaky-cam footage and hyperactive cutting. Due to the way director Zack Snyder and cinematographer Larry Fong bleed the colors out of the film and shroud the characters in smoke, even its daylight scenes appear to take place at dusk. Doomsday, the mutant Kryptonian monstrosity created by Lex Luthor (no spoilers here; its existence was revealed in promotional photos and video footage weeks ago) is a generic hell-beast with ropy muscles, spiky encrustations, and Rancor-like teeth. It is a generic hell-beast. Speculation about a “R”-rated DVD release isn’t surprising considering the film’s juicy stabbings, brandings by Batarang, close-quarters gunshots, scenes of sadistic kidnapping and torture, and generally depressing tone are all standard fare in Urban Thriller territory. Blood seeping from strange nooks and crannies and disorienting angles make the film more effective when it’s channeling expressionist horror films, which it does quite effectively. This is especially true when it borrows iconic designs and situations from its primary inspiration, Frank Miller’s politically satirical, meticulously plotted graphic novel The Dark Knight Returns. It’s almost like watching a kid stumble around in his father’s shoes.
Despite the weak script, the acting is mostly strong (Affleck and Cavill are both superb—Affleck unexpectedly so), and there’s enough mythic raw material sunk deep in every scene that you can piece together a classic in your mind if you’re feeling charitable; however, if you’re not feeling charitable, “Batman v Superman” will appear to be a blown opportunity. You might find yourself wishing for the delicate touch of Christopher Nolan at times. Those last four words have never before appeared together in the same sentence. It’s funny how life works like that.
For more personality quizzes check this: Captain America Civil War Quiz.
