Skip to main content

Faster Than a Speeding Bullet


When James Gunn was placed in charge of rebooting the ailing DC cinematic universe the move came with a declaration, from now on the focus would be on creating great individual movies with loose connections, rather than to obsessively cram everything into a convoluted cinematic continuity. With that in mind, here is the first of their new films,  DCU : Phase 1 : Gods and Monsters : Superman

Glibness aside, it is just called Superman, and while there is certainly some filling out of the world going on, it does all seem to be in service of telling the story. A brief bit of text fills us in on Gunn's world, letting us know super powered people are fairly common place and Superman is the strongest of them all, before we are introduced to a bloodied Supes, his dog Krypto and his robot staffed Fortress of Solitude. The plot has plenty going on, with a potential war, revelations about Superman's parents, citizen's mistrust of the Man of Steel and interactions with "The Justice Gang", but it mostly all boils down to Lex Luthor desperately wanting to put big blue in the ground.

There was some concern about James Gunn being the man to deliver a lighter version of a character that has been cinematically stuck in morose mode for the past decade or so. He has a reputation as a bit of mean filmmaker, someone who prefers harder edged characters and isn't above putting them through the wringer in service of pathos, or even just for a joke. Turns out he knows when to reign those sensibilities in and focus on silliness. There are some tonal clashes and attempts at emotion are thoroughly undercut by jokes, but focusing on the humorous side is the right call. There are plenty of nods to our world with advanced militaries prepared to gun down unarmed civilians and call it "war", billionaires pulling the strings of politicians and angry online (literal) monkeys spreading toxicity, but tonally, plot wise and in terms of visual aesthetic, this is probably the closest to just picking up a Superman comic that any live action film has come. 

Pretty much all the casting choices prove to be inspired. David Corenswet certainly looks the part and he brings a disarming, naive charm to the role, playing him less stoic and more human than previous incarnations. He spends the vast majority of time in the suit, which is great, but it would have been nice to see a little more of Clark and Lois (Rachel Brosnahan) together as they have a great dynamic and chemistry. Nichola Hoult gives a more manic, and flat out evil version of Lex Luthor and is entertaining every time he is on screen, whether posing in sunglasses, berating employees or having a full on meltdown. The other heroes that show up in the film (the  "Justice Gang")  are pretty funny, with Nathan Fillion's obnoxious Green Lantern looking ridiculous and Eli Gathegi almost stealing the movie as genius Mr Terrific. Third member, Hawkgirl (Isabela Merced) makes the most of what she is given but has the least to do.

The film certainly delivers on fun action and realises the spectacle of Superman pretty well, although arguable the best action sequence belongs to Mr Terrific. Things do move briskly, meaning that for a film dealing with the impact Superman has on the world, we don't get much time to take in the repercussions of what is going on.  The only outright disappointment is the score which lacks any impact when not riffing on the iconic original theme. 

Superman is a film that does indeed strip the character back to his fundamentals, never giving up and choosing to do the right thing. There is a lot of noise in the film, both in terms of plot and visuals, but if you can somehow get on board with the idea that a guy who flies around in a cape shooting lasers out his eyes shouldn't be taken too seriously, then you'll find an action packed, fun blockbuster to enjoy. 

7 monkeys furiously typing out of 10.

Comments

Popular posts from this blog

Star Scuffle

Star Wars: The Mandalorian and Grogu is perhaps the purest distillation of a problem the franchise has had ever since the end of the original trilogy. The inability to expand the scope of its story. Commercially, it became a world devouring behemoth, but in terms of narrative it has never moved past (on the big screen anyway) those first films. George Lucas delivered a prequel trilogy that showed us how we got to his 1977 original. Disney's new trio of movies ended up amounting to little more than bringing the gang back and adding some new faces to the hamster wheel. They also gave us a couple of spin-off films dedicated to filling in unimportant details of the classic adventures. Eventually, a sprawling galaxy far, far away starts to look pretty small. Now their return to cinemas after a (much needed) seven year break is a lengthened episode of a TV show that exists because one of the characters in the original films looked pretty cool.  With a laboured structure (there are three...

Tune In, Cop Out

Tuner lead character Nikki (Leo Woodall) hasn't had much luck. His parents aren't around and  H yperacusis (an extreme sensitivity to noise) put an end to his piano  playing days. Now he puts his enhanced sense to use as a piano tuner, working for mentor and father figure Harry (Dustin Hoffman). When Harry falls ill and into debt, Nikki takes on a sideline in safe cracking for shady security boss Uri (Lori Raz). All is well at first, but as time goes on it becomes increasingly hard for Nikki to juggle his day job, lucrative but dangerous side hustle and a blossoming romance with musical student Ruthie (Havana Rose Liu). The set up may make you think you are in for a slick crime caper, but that's not really what this film is. Director Daniel Roher made his name in documentaries and Tuner has a very naturalistic feel. The city is vibrant and busy while close up shots show the intricacy of the pianos and locks Nikki has mastery over. We are following characters (mainly Nikki)...

Rooms Got Back

Backrooms was never likely to struggle financially. The last couple of years have taught us that if you can turn Gen Z out, box office success tends to follow. Given the viral subject matter (more on that later) a younger audience were always likely to show up in more than enough numbers to turn a profit on a moderately budgeted horror film. The question facing studio A24 and 20 year old (yes that's right, 20 year old) director Kane Parsons was what to do with the free hit. Do you double down on the premise in order to satiate the TikTok crowd? Or do you layer on the themes and character in order to create an "elevated" horror more in keeping with the A24 brand? It seems they were never quite able to commit to one approach or the other and the final product falls unsatisfyingly in between. For those unaware of the Backrooms phenomenon, it began life as a creepypasta, modern folklore where people share an unsettling picture online and create stories around it. The idea wi...

Van Afterlife

Passenger  director Andrè Øverdal has some impressive credits under his belt, including his Norwegian language breakout hit Trollhunter and chilling haunted corpse movie The Autopsy of Jane Doe. That explains why this mediocre horror has a couple of well crafted set-piece scares, but he is saddled with a bland script that is content to tick familiar genre boxes. Things start promisingly with the titular "Passenger" (a highway stalking demonic entity) dispatching a pair of nighttime travellers. We are then introduced to young couple Maddie (Lou Llobell) and Tyler (Jacob Scipio) who are about to abandon the city for a life on the road in their swanky van. Tyler is all in (to an obnoxious degree) but Maddie is hiding some reservations and things get spooky when they are marked by the walking metaphor for the dangers of travel. The first issue the movie runs into is the confusing nature of the entity itself. Why does it mess around with our leads for days when it kills everyone ...

Listening to the Sounds in Silence

The tagline for breakout indie horror hit Undertone is, "The Scariest Movie You'll Ever Hear". This declaration sets out the film's stall as a uniquely audio based horror, and that is exactly what it delivers. The result is something that will chill some people to the bone and leave others falling asleep in their seats.  Originally made for a meagre $500,000, the film takes place entirely in one location (director Ian Tuason's childhood home) and centres on podcaster Ivy, played with impressive range by Nina Kiri. Ivy is caring for her dying mother (the only other person who appears onscreen) so has to wait until the early hours of the morning to record her paranormal podcast with friend Justin (the voice of Adam DiMarco). She plays the role of sceptic to Justin's believer but her rationality is tested when her cohost begins playing some eerie audio files he received from an anonymous listener. Although Undertone isn't a found footage film, it very much t...

Killing in the Name of

Mortal Kombat II is, unsurprisingly, a sequel to 2021's Mortal Kombat and the latest attempt to adapt the long running fighting game franchise for the big screen. There has been a bit of a shift in Hollywood over the five years since the last instalment and this film has a very different attitude. Gone is the attempt to "serious-up" the material as MKII fully embraces its dumb video game roots. It still isn't exactly good, but at least this time round it's bad in an enjoyable way. For those unfamiliar with the games, they are based around a fighting tournament that decides if an evil empire from another dimension, or "realm",  gets to take over Earth. Think "Enter the Dragon" with superpowers and a hefty dose of inspiration from "Big Trouble in Little China".  In terms of this movie, eight people from Earth take turns fighting eight people from "Outworld". Sounds simple enough but the script makes no attempt to create any s...

Talking 'Bout My Girl

In addition to already being the name of a dozen or so movies,  Obsession is a horrendously dull film title. It conjures up images of dated romantic thrillers or bargain basement serial killer flicks. This is a long-winded way of saying this darkly humorous relationship nightmare deserves a better name, as it's anything but stale. Barron "Bear" Bailey (Michael Johnston), Nikki (Inde Navarrette), Ian (Cooper Tomlinson) and Sarah (Megan Lawless) are longtime friends and work colleagues. Bear has long harboured feelings for Nikki and is determined to confess his love, despite warnings from Ian to bide his time and the fact Sarah might be the one who is actually interested in a romantic relationship. After chickening out of an ideal opportunity to tell Nikki how he feels he uses a cheap novelty collectible called a "One Wish Willow" to wish his crush was hopelessly in love with him. Turns out the tacky toy is legit and ties him into a "The Substance" styl...

Wasted Men

From Scum to Starred Up, neither the big nor small screen are short of brutally frank depictions of life behind British bars. Wasteman adds a taut, modern take to the pile and shows that life isn't getting any easier inside. Philip Barantini (creator of Boiling Point and Adolescence) is on board as a producer so you know it's going to feel real and the Safdie brothers were at one point attached to direct, so you know it's going to be gut-clenchingly tense. It doesn't disappoint on either front. David Jonsson plays long term convict Taylor. A timid drug addict, he cuts the hair of the top-dog inmates in return for a regular fix and is existing rather than living as the years of his sentence tick by when he gets some unexpected news. Prison overcrowding means he is up for early release, provided he can keep his nose clean for a couple of weeks, something made increasingly tricky by the arrival of his new cellmate Dee (Tom Blyth). Dee encourages Taylor to make contact wit...

Whisky in the Jar

Glenrothan has been sold as "a love letter to Scotland" and given that it features two of Scotland's most accomplished actors, whisky, folk music and stunning landscape shots, it's hard to argue. Is it anything more than that? Not really, but maybe that's OK.  Alan Cumming and Brian Cox (who also directs) are Donal and Sandy Nairn, estranged brothers and heirs to a beloved whisky distillery. Growing up, big brother Sandy was desperate to leave their idyllic village and its distillery behind, while Donal wanted to be nowhere else. Family issues resulted in them both leading the life that the other used to dream of, as Donal left for America and Sandy took over the family business when their father's health began to fail. When his blues bar burns down, Donal makes his first trip back to Scotland in forty years, accompanying his daughter and granddaughter to visit his ailing brother. A quick look at the trailer tells you everything you need to know about Glenroth...

Husband and Strife

If the purpose of cinema is to make the audience feel something, then few films succeed as completely as The Drama. The fact that said feeling is one of wanting to curl up and die of awkwardness shouldn't even be taken as a warning. Like a masochist munching down on a giant bowl of ghost peppers, you will likely find every bite delicious.  Robert Pattinson and Zendaya play soon to be married couple Charlie and Emma. They have the picture perfect relationship. They have successful jobs, a beautiful Boston apartment and look like Zendaya and Robert Pattinson. Little differences in their attitudes toward a wedding dance rehearsal and their potentially drug smoking DJ hint they may not be completely on the same page, and when a drunken game leads to Emma disclosing something from her past, their relationship experiences some severe turbulence.  It's tricky to fully discuss The Drama without spoiling Emma's revelation (and it absolutely should not be spoiled), but it points to ...