Apr 11 2017
We’re up to 62 superhero movies since 2000. You can download the full data here. Some observations:
- R movies are making up the quality gap with PG-13 movies.
Apr 11 2017
We’re up to 62 superhero movies since 2000. You can download the full data here. Some observations:
Mar 24 2017
You are a funny guy. How did you become a super hero? What do you do when you’re not doing anything? Do you like being a superhero? Why do you wear a mask? Why do you wear red and white? Are you Canadian?
Getting superpowers is sort of a long story. Some people are born mutants or work in a nuclear power plant. I got an organ implant from a doctor I found at an IHOP. (I mean, I got the DOCTOR at the IHOP, not the ORGAN, that would just be nasty).
When I’m not doing anything, I make fun of X-Men and my studio and my writers, that keeps me plenty busy.
The last Canadian I met tried to murder me with his claws a few times. And that was before I tried hitting on his sort-of-daughter, who ALSO has murder-claws. That’s since been adapted into two movies, Logan and Saw 3. #CanadianDating
“Why do you wear a mask?” To make it possible for Ryan Reynolds to play me in the movies. With the mask off, he looks more like an avocado than a mercenary (and about as threatening as a door-to-door Bible salesman).
“Why do you wear red and white?” It’s easier to wash blood out of red clothes. White helps if pigeons are around. New York has a lot of pigeons.
Your Friendly Neighborhood Deadpool
Is it true you don’t like to be called a hero? I like it when you make jokes. They’re really funny.
In your movie, why did you count your bullets when you could have picked up an enemy’s gun?
I also heard you don’t like the X-Men, is that true? How many enemies do you have?
I don’t call myself a hero, but I don’t care what other people call me, except for the time that Spider-Man called me Cable’s sidekick. NOT TRUE, CABLE WORKS FOR ME. He doesn’t even have a movie yet. I don’t think he even knows what a chimichanga is, which would probably explain why he’s so bad at taking food orders.
“I like it when you make fun jokes.” Thanks! Sometimes inspiration for a great scene hits me. We were enjoying a hockey game in Toronto and a Zamboni came by and I was like, “We can totally kill someone with this.”
“How come you counted your bullets instead of picking up an enemy’s gun?” Guns are like hockey teams: you don’t swap them out. Unless you find someone much better. Or you have a katana. Actually, maybe guns aren’t like hockey teams.
“I also heard you don’t like the X-Men.” TRUE. When I was in Wolverine’s movie, they sewed my mouth shut. When I asked Wolverine to be in my movie, or maybe someone badass like Gambit or Cable, the X-Men sent me a Twitter-addicted negasonic teenage warhead.
“How many enemies do you have?” I don’t keep like a running kill-count or anything but probably 100 less than at the start of my movie. Several remaining names: Wolverine (tried to kill me after I flirted with his daughter WHO TOTALLY COULD HAVE BEEN 18), Wolverine’s daughter (same), Sweden (The Katana Incident), Madcap (me but less funny) and probably HYDRA (they hate everybody).
Deadpool, how’s your granny? I heard your girlfriend kicked you out of the house. What do you think of your job? I hope your girlfriend will take you back.
How’s your day? When are you going to make another movie? In your last movie I liked it when you got your girlfriend back. I hope you make a new movie soon.
“How’s your granny?” SHE’S NOT MY GRANNY. She’s just someone I’m sharing a room with, who happens to be a granny, and also probably addicted to cocaine. I think that’s how she went blind. It’d also explain why she took a hitman as an AirBNB guest, just saying.
“What do you think of your job?” I have a job? I definitely didn’t get paid anything for taking down Ajax. I wasn’t even able to sell the Zamboni. If Batman and Iron-Man have taught us anything, being a billionaire playboy is every bit as amazing as it sounds. If I have taught you anything, don’t go on a one-man journey of revenge and murderous redemption without getting paid for it.
“I hope your girlfriend will take you back.” Unlike the granny, she’s not blind (and I’m not a billionaire), so it won’t be easy.
“I hope you make a new movie soon.” Deadpool 2 is coming out next year. My sidekick Cable’s going to be in it. More importantly, me too.
Why did you think about becoming a hero when you got an offer? I love the part in your movie where you cut your hand off, that part made me laugh so much.
Why did you make a movie? Why is your name DeadPool? Why do you live with an old lady? Do you have a pet? Do you have a car? If you wanted a car what would it be?
“I love the part in your movie where you cut your hand off, that part made me laugh so much.” When you’re filming a movie, most scenes get practiced 30-40 times to get the performance just right. Check out the take where I pass out from blood loss. Comedy gold.
“Why did you make a movie?” My life is grim, dirty, and loaded with murder and betrayal. It was either Hollywood or politics, and I don’t look good in a tie.
“Why are you named Deadpool?” A deadpool is when people bet on who’s going to die first. I had cancer (and a lot of it), so most of the people at my bar thought I was going to die first. JOKE’S ON THEM, SUCKERS.
“Why do you live with a old lady?” She’s blind and slow, two of my main requirements in a roommate. Anybody else would have run to the cops years ago.
“What was your favourite part in the movie when you were acting?” The romance scenes were all my idea. And, no, we didn’t use stunt doubles. The studio is still working out whether my ideas for the sequel are okay for a rated R movie, though. Or legal.
Nov 08 2016
Sep 18 2016
1. This movie is about as bad as Catwoman but, in Catwoman’s defense, it had okay action scenes.
2. Man of Steel particularly struggled with family dialogue. E.g. Clark’s Kryptonian parents take 3 minutes to describe their plan to send him to Earth and say their goodbyes. It’s pretty bland stuff, e.g. melodramatic intonations like “Goodbye, my son, all our hopes and dreams travel with you.” For much better family sequences, I’d recommend checking out Up, Incredibles, and Inception, non-dramas that happened to have some highly emotional and sometimes tragic family scenes. Let’s look at Inception’s vault scene, where a son insecure about failing his imposing father’s expectations is about to inherit a business empire from his dying father. He quietly hates his father because he thinks that his father has rejected him (e.g. not acknowledging a photo of a homemade pinwheel that’s probably the only happy memory they ever shared).
If you can get through this scene without shedding a tear or smiling at all, I’d recommend talking to a WB casting director because apparently they’re really into that. Also, the dialogue in this scene takes about 1:15. Compare to 3:15 of “Goodbye, my son, all our hopes and dreams travel with you and maybe also an AI which will spend another 5-10 minutes narrating to you later.”
(For some extra tragedy, this scene from Inception is a dream sequence created to trick the son into breaking up his father’s empire. In actuality, the father probably actually was a bastard).
2.1. When Pa Kent reveals to his son that he’s an alien, he bends over backwards to be weird about it. E.g. “You’re not on the periodic table”, “You’re the answer to ‘are we alone in the universe?’”, and “You need to decide whether to stand proud in front of the human race or not.” Clark doesn’t respond at all to this weirdness (his father gets 146 words in this scene, and Clark gets 13 – like most scenes between Clark and a parent, it’s more of a parental monologue than a conversation).
2.2. When Ma Kent’s son locks himself in a closet at school, mixing in some conflict would probably be more interesting than trying to be a yoga instructor. (“Focus on my voice. Pretend it’s an island. Out in the ocean. Can you see it?”) Alternately, maybe having Clark react when they take conversations in exceptionally weird directions. In this scene, Clark’s mom gets 80% of the words. Contrast to more effective conversations in Dr. Strange – even the most New Age-sounding lines from the Ancient One address problems and advance goals in a serious, practical way.
3. A question-and-answer session between two entirely cooperative characters is almost never the most interesting way to convey information. If the backstory of what had happened on Krypton actually were important, I’d recommend cutting the first 20 minutes of the movie on Krypton and most of the conversation between Clark and Jor-El, and have General Zod briefly mention or allude to important pieces when he shows up. Even that’s probably unnecessary.
3.1. If you’re rewriting a scene that feels like an 100% cooperative Q&A session, I’d recommend considering building some conflict between the characters, some mistrust, some concealment and/or lying and/or self-serving, not being willing and/or able to tell the whole story, and/or unreliable answers, etc. Also, there may be some degree of “cost” to the questions — e.g. if you sent your son to another planet and could have come yourself but chose not to, you might be uncomfortable freely admitting that because he’d probably think that you abandoned him. There probably should have been some pushing/conflict before Jor-El elaborates on what happened there.
4. The movie heavily overfocuses on Clark’s parents, who delivered twice as many lines as Clark/Superman gets (26% vs. 13%). Minor characters (mostly the military and minor Kryptonians) made up another 39%. Giving 2/3 of the lines in the movie to minor characters that have little bearing on the plot, little personality, and almost no unusual decisions between them is a bad idea. If your superhero is so boring that sidelining him for his parents might be a good idea, something has gone catastrophically wrong for your superhero story.
|Characters||Word Count||% of Total|
|Everybody else (mostly military + minor Kryptonians)||2,815||39%|
4.1. Arguably the worst part of the conversations between Clark and his parents is that his parents are windbags that relentlessly info-dump at him in the most grandiose, messianic terms what he symbolizes and the unbelievably wonderful things he’s going to accomplish some day when he gets off his ass and stops listening to windbags telling him about it. Jor-el: “You will give the people of Earth an ideal to strive towards. You will help them accomplish wonders. You will guide them so they might not make the same mistakes we did. You will show them this was the moment when the rise of the oceans began to slow and the planet began to heal.” Pa Kent: “You were sent here for a reason. All these changes you’re going through, one day you’re going to think of them as a blessing, and when that day comes you’re going to have to make a choice, to stand proud in front of the human race or not… You just need to think about what kind of man you want to grow up to be, because whoever that man is, good or bad, he’s going to change the world.” Who the **** cares what he symbolizes? Get him doing and saying interesting things. In the first hour, he doesn’t come close on the first or attempt the second.
4.2. If ANYBODY takes 80% of the lines in a conversation with your main character, the scene-stealing characters damn well better be hyper-charismatic and/or critical to the plot, on the order of a Hannibal Lecter or Han Solo or Blake (the “coffee is for closers” sales instructor in Glengarry Glenross). In Man of Steel, virtually every scene with Clark’s parents sidelined Clark, which is very unusual for a lead character. I don’t see what they were going for. Clark didn’t get a lot of opportunities to have personality, develop himself and/or be interesting.
4.3. There’s one point at which the ghost of Jor-el tells Clark “If only Lara could have witnessed this.” Nah, three hyper-generic parental figures should be enough, I think.
5. The entire plot is a festering cancer of incompetence.. Being in Man of Steel is like barrel-rolling a Jeep full of incontinent donkeys. Nobody walks away looking good.
6. Emotional variety is missing. I think Clark smiles twice in the entire movie and there are literally no moments that are exciting or cool. Compare to much more effective dark movies, like Chronicle and Deadpool and Kick-Ass and Watchmen, which have a lot of despair and suffering, but ALSO have some levity and a lot of energy. E.g. in Chronicle, one of the main characters has an abusive father and is generally an outcast at school, but everybody gets occasional bursts of excitement and happiness and most of the characters are living semi-functional lives. Man of Steel is a gray pile of sadness where Superman stumbles from one tragedy to the next.
6.1. Here are some faceshots from the movie. Clark’s emotional expressions could use some work (e.g. his pose for seeing Lois for the first time is virtually identical to when he sees by a corpse).
6.2. I can sort of understand the rationale behind doing several scenes with military extras – Superman has virtually no good dialogue in this movie, and his powers don’t lend themselves well to interesting fight scenes. However, if you spend so much time on military characters that they have more lines than Superman does, I’d recommend having the military extras actually be sort of useful (e.g. taking down one of the minor villains or something rather than just shooting ineffectually).
7. Jesus Christ, how tragic can one person’s life be?
8. A recurring problem for Superman: an active Superman is so powerful that he can instantly solve most problems that come his way. For most of the movie, they opt for “Clark wants to act but instead does nothing to hide his powers, and then has a 3+ minute debriefing where a parent monologues about why he had to do nothing to hide his powers.” If you’re going to have so many of these scenes, I’d suggest at least having him TRY to overcome his problems without superpowers (e.g. talking his way out of it, run for help, or make some friends by having any outside interests or anything going on in his life besides random disasters and tragedies) or maybe some sly use of superpowers like using his heat-rays to start a fire alarm to bring out witnesses at an in-school fight.
9. Characters should respond more naturally to each other. For example, if Clark says something like “You’re some guy that found me in a cornfield” to his adopted parents, please write a sharper response than “Clark!” / “No, honey, it’s alright.” If you want to have Lois to declare that Hardy is trying to measure dicks with her, please give Hardy a sharper response than nothing. Other moments in the movie that probably deserved more of a response than they actually got:
10. For a dramatically effective version of soldiers fighting an impossibly powerful enemy, I strongly recommend looking instead at the final scene of Rogue One (doomed rebels in a terrifying encounter with Darth Vader). The scene lasts less than a minute and is completely non-redundant with everything else in the movie. In contrast, Man of Steel (and Suicide Squad) have 4+ emotionless scenes where military extras get mowed down emotionlessly just to burn time off the clock.
Aug 14 2016
1. The character introductions were lacking. Having Waller narrate the characters’ backstories to a minor character in a no-stakes infodump was probably not ideal. If Waller’s MO is that she’s ruthless and/or exploitative, would have preferred a scene with her coercing Flag to work on the project and/or why they selected these guys rather than any other high-stakes criminals available. Also, given that virtually all of the characters are total unknowns to most viewers, a smaller team would probably have helped with character development. (Failing that, if you start with a large team of antiheroes, having several deaths would probably have helped raise the stakes and establish a mood).
2. It probably would have helped if the main mission of the movie had been more shady and/or disagreeable. If a supervillain is ravaging a city, it’s not clear why the government needs a “plausible deniability” option here of unwilling gangsters with guns and bats rather than, say, asking Batman or Wonder Woman to step in. Or that having 6 minor criminal patsies would have helped explain at all why a sorceress wrecked a major city. I feel like a very messy police mission like trying to destroy a major gang and/or killing somebody that’s gone rogue and/or helping a VIP (maybe Waller) deal with a major case of blackmail would have been a better fit.
2.1. Waller’s trying to fake an answer to the wrong question. If a villain magically turns millions of people into zombies, the blame coming your way doesn’t have anything to do about who did it, but rather that you either didn’t have a plan and/or it involved sending guys with guns and bats to stop a sorceress rather than, say, asking Wonder Woman. Also, if you DID need to falsely claim that someone zombified a city, could I suggest somebody more plausible than a group of minor criminals headlined by a crocodile and a prison psychiatrist?
2.2. The blame coming your way might also have something to do with “why was somebody as incompetent as Waller within 1,000 miles of a life-or-death assignment?”
2.3. “When Enchantress started killing millions of people, why didn’t we immediately flip the kill-switch on her magical device?”
3. The music selection was ugly. E.g. playing “Sympathy for the Devil” to introduce a shady character with semi-sympathetic goals calls out the viewers as idiots, I think. Not nearly subtle enough. In contrast, Killer Croc got the much more imaginative “Born in the USA”, rather than (God help us) Crocodile Rock.
4. June is the worst archeologist in the world. She spends less than 10 seconds in the temple before twisting the head off a priceless relic that nearly destroys the world. Whoops. Not to be outdone, she falls for the worst soldier in the world, whose superpower is playing golf without a handicap and bungling pretty much everything he touches.
5. The team selection is an odd choice: Harlequin, Killer Croc, Captain Boomerang, Diablo, Katana, Deadshot, and Slipknot. Slipknot and Captain Boomerang are joke characters that contribute very little to the plot. (Seriously, Slipknot’s reason for being on the team is that “he can climb anything”). Harlequin and Deadshot (and secondarily KC and Diablo) feel like a pretty good personality fit for the movie, and the four of them dominate the memorable lines. I would have removed or overhauled CB, Katana, Slipknot, and maybe Rick Flag – they have little impact on the plot, and there just isn’t time.
6. Enchantress feels like a serious mismatch for the protagonists. Someone shootable would probably have created more interesting interactions and better fight scenes, seeing as almost everyone on the team is a badass normal. (The team’s only superhumans are Diablo, Killer Croc, and maybe Katana – not the most intuitive choice for stopping a world-ending threat).
7. Characters raise plausible concerns about Waller’s plans in a fair way (and thoroughly exhaust standard police and military alternatives). In context, it almost feels believable that serious people would agree to this crazier-than-crazy plan. (If we pretend that Batman and Wonder Woman were dealing with some other world-ending threat somewhere else, it almost makes sense). Also, in the interests of making Waller/Flag look better than “totally useless”, it might help if the problem the team had to deal with was not 100% created by Waller being a dumbass. In, say, well-executed noir movies like Out of the Past, characters create their own problems, but without compromising their competence.
8. Although this movie did as poorly as Batman vs Superman on Rotten Tomatoes, I think Suicide Squad is considerably better-executed and more entertaining. E.g. Will Smith’s attempted negotiation with Flag and Waller actually did a great job advancing character development, establishing conflicts between characters, and advancing the central plot. I don’t think there were any scenes in BVS that managed any one of those besides maybe Bruce Wayne’s very brief conversation with Diana Prince.
9. Even for a superhero movie, SS asks you to check a lot of realism at the door. E.g. 3 helicopter crashes for major characters without any deaths or injuries. Seriously, it would have been okay to kill off some of these characters. No one in this movie besides Batman and maybe Joker is integral to the success of the DC Universe moving forward. Also, Rick Flag is a notably passive, weak character – besides killing off Slipknot early, he is curiously reluctant to respond to provocations from his team. I was actively rooting for his death.
10. Several of the characters (notably KC, Joker and Diablo) are taken in an unusually gangsta direction. It feels really strange for Joker, who comes across as more sketchy than threatening. For Killer Croc, it got oddly humorous, in a non-PC way.
11. Harlequin’s background as a psychiatrist does not feel like it fits with the rest of the character.
11.1. The sexploitation was actually pretty effective.
11.2. Harlequin getting punched in the face by Batman probably got the loudest laughter from the audience, followed by Deadshot trying to negotiate in prison.
12. Villains threatening worldwide destruction generally don’t give protagonists much to work with. Enchantress felt like a sorry rehash of the most recent Fantastic Four’s Dr. Doom and Green Lantern’s Galactus, even down to the purple vortexes of death and terrible CGI. It’s much harder for characters to interact with a force that has nothing to talk about. Off the top of my head, the only superhero movies with global villains that worked out creatively very well were the Avengers series and Guardians of the Galaxy, and they relied on exceptionally interesting interactions between the protagonists rather than with the villains.
13. Most of the teammates – and Flag and (if you go as far back as Green Lantern) Waller – have a tragic backstory to soften them. I was sort of hoping for at least one character to have an unapologetic Walter White-style “I did it for me. I was good at it.” The closest we got was Harlequin stealing a purse. While that helps reinforce the character’s craziness, maybe something more important to the central plot?
14. Deadshot’s final scene with his kid (helping her with geometry) was surprisingly heartfelt and refreshingly dark. The kid isn’t just a sweet plot device, and it’s probably the closest this movie got to daring. I wish they had tried it more often (e.g. see Deadpool). For example, maybe giving characters more opportunities to do more antiheroic things than stealing a purse? Giving Diablo and Flag more of a pulse? Making Waller competent?
14.1. Deadshot shows off technical expertise in his final scene very naturally – compare how he talks about the geometry of shooting people and the curvature of the Earth to virtually every Fantastic Four conversation about science.
15. It’s so hard to feel for the setting. It’s very generic and, like every DC city besides Gotham, it’s just a soulless cardboard box to wreck. No interesting characters, no interesting places, no distinctive mood to the city… For God’s sake, it’s called
Fauxcago “Midway City.” How much personality could it possibly have? PS: Would suggest checking out better noir movies for better alternatives to “dark and rainy all the time.”
16. The last 60 minutes of the movie (50:00 to 1:48:00) were a single, REALLY LONG mission where the characters break into Fauxcago, rescue a VIP, and ultimately defeat the villain. I strongly prefer the pacing of virtually every other superhero movie (e.g. Avengers and Incredibles), where several (much shorter) action sequences build up to a climactic confrontation with the villain. That would have also made it easier to work in dialogue into scenes than it was for Suicide Squad – e.g. look at how weirdly paced the bar scene is. (The world’s about to end, but hey, let’s talk about Diablo’s backstory!)
17. Across the movie, I counted about 38 minutes of action scenes. I think that’s about twice the average for superhero movies. Some issues here. First, it got tedious. Second, most of the fight scenes were ineffective. E.g. did we really need 3-4 separate scenes of soldiers/helicopters/aircraft carriers getting wrecked? There are so many characters that could have used most of that space more.
17.1. Most of the action sequences setting up each SS member were wasted.
18. The movie took far too long before the teammates first meet each other 45 minutes in. Virtually all of the moments in the movies that actually worked featured Squad members interacting together (or Deadshot with Flag or his daughter), and getting the Squad together much sooner would probably have helped with the pacing. If your first 45 minutes of the film give more screentime to Waller, faceless government extras, and Joker as the titular heroes, it’d really help if these side characters got more opportunities to be interesting or memorable. In comparison, most of the great superheroes movies that introduce the main case exceptionally late, like Iron Man 1 and Incredibles, used the extra time early on for scenes that were very interesting, hilarious, emotionally effective, developed the main characters, or developed critical plot elements – hell, Tony Stark’s “Merchant of Death” scene and Bob’s attempt to prevent a suicide accomplished a lot on all 5. In Suicide Squad, the first 45 minutes don’t have anything that well-executed… I’d argue the closest is Deadshot’s interactions with his client, which create some character development and humor.
18.1. The odd men out here are definitely Waller, Joker, Enchantress and her brother (Incubus), and arguably Batman. Ideally, I think it would have helped to replace Enchantress/Incubus with villains that could interact with the heroes more directly, made Batman’s scenes more distinctive or removed him altogether, and significantly accelerated the setup to the squad coming together. I think Joker would be a candidate for lead villain, but I wouldn’t keep him on as a side villain because there are so many characters fighting for space. Also, overhauling Waller (more competent, more believable, more logical, more reacting to an actual problem rather than creating a problem that doesn’t exist yet, more threatening to teammates rather than maintaining no surveillance on the team, etc).
19. A point worth belaboring: Waller is outlandishly incompetent.
19.1. While Rick is not as legendarily inept as Waller, he’s not exactly covering himself in glory.
Jul 19 2015
My expectations for the Ant-Man movie were exceedingly low — mainly based on concerns about the source material (no memorable villains, not much interesting personality, not conventionally useful superpowers, etc). In actuality, it’s a consistently funny movie with reasonably good fight scenes. Right now it’s averaging 79% on RT and I think that’s about right. Some observations:
–The main villain is a one-dimensionally psychotic businessman. His lack of style and depth is probably my biggest knock against the movie. At the very least, if you absolutely need a psychotic businessman (which has already been used quite heavily in superhero movies), other movies have blazed this path better. E.g. generally Spider-Man 1’s Harry Osborne and Incredibles’ Syndrome felt like they could be real people with major mental issues. Not so much here. That said, I really liked the scene where the villain asked his mentor Dr. Pym why he kept the villain at such a distance. At the very least, the villain did give a really good opportunity to develop a side-protagonist’s personality.
–Using reformed sort-of-criminal* Scott Lang rather than generically brilliant scientist Dr. Pym as the main protagonist was an excellent choice. I think we’re overstocked on brilliant scientists at this point.
*He committed one theft, a Robin Hood-style crime where he returned the money to people that a company had overcharged them. The filmmakers softened the edges on his criminal work so much that it didn’t look like they were completely convinced that a criminal-turned-superhero could work. For PG-13 movies, I prefer the Guardians of the Galaxy mold (where protagonists have more latitude to at least talk about committing selfish crimes**, even if most of the things they actually do aren’t).
**Even removing someone’s spine, which is actually murder, and also illegal.
–In the comics, Scott Lang gets back into crime to help his sick daughter. Boohoohoo. In this case, it was to make child support payments (after a hilarious failure at Baskin Robbins), which felt a lot less cheesy/generic than the comic version.
–The side-cast in this movie and the (somewhat outre) comedy were much better than anyone had any right to expect. E.g. I believe comedic side-character Luis was created for the movie, which must have been a series of leaps of creative faith. “I know this guy, Michael Pena. Well, my cousin was at this PTA meeting, you know, and…”
–Falcon’s cameo is probably the closest he’s come to being interesting, especially when Luis goes into storytelling mode for the second time. This is also the most interesting SHIELD/Avengers cameo in any of the Marvel movies so far. Doing it with Falcon (who doesn’t have a personality independent of Captain America yet*) is just plain impressive.
*E.g. “I do what he (Captain America) does, just slower.” I believe the most charitable interpretation for Falcon is that his main purpose is to replace Captain America if/when Captain America’s actor Chris Evans stops making CA movies. He’s essentially a slow-rolling reboot.
Jan 14 2013
Will Beall, the screenwriter for the upcoming Justice League movie, just had his first movie (Gangster Squad) out. It averaged 33% on Rotten Tomatoes (thanks to “lackluster writing and underdeveloped characters”) and disappointed at the box office. I think this bodes poorly for the JL movie.
I’m lowering my Rotten Tomatoes prediction for Justice League from 30-45% to 25-35%.
PS: Speaking of box office results this week, the three top-performing theaters for Zero Dark Thirty (a movie about the hunt for Osama Bin Laden) were within 5 miles of the CIA headquarters in Langley, VA.
Dec 29 2012
He’ll be fine after the publicity stunt passes. The only thing that can actually kill a superhero is bad sales.
Jul 29 2012
Guyism has a list of the 16 creepiest comic book scenes. Some of them are okay in context–e.g. in Daredevil 209, Daredevil pushes a girl down an elevator, but he knows that she’s a robot assassin. Some of the other ones are just plain creepy.
Jul 16 2012
(Please see the movie before reading this review).
1. The two minutes of voiceover/narration should have been cut. First, do we really need to start the story with the backstory of the Green Lantern Corps? It would probably have been more natural (and less pretentious) to cover this in a conversation with Hal Jordan (probably when he meets up with the Corps on Oa). As it is, I think this information is a distraction from Hal, contributes to a disjoint between what the aliens are doing and what Hal is doing over the first 30 minutes, and is redundant with the two other scenes recapping the purpose and history of the GL Corps.
1.1. When you’re introducing a character and/or organization to readers, I think it’d be more effective to show them in their element rather than through lengthy exposition. We’re later told Abin Sur is a “great light” of the Lanterns, but we never actually see him do anything impressive. Similarly, rather than introduce the GL Corps with a speech, I’d much rather see them doing a typical-but-interesting job (the GL equivalent of a hostage situation or a high-stakes bank robbery). Since the defining characteristic of the GL is supposed to be fearlessness, it’d be better to have them do something memorably courageous than to show them panicking as they face Parallax. Fleeing isn’t the most intuitive way to establish a corps founded on bravery. Moreover, we don’t actually see much fearlessness from the Lanterns over the course of the movie.
2. The relationship between Hal and his father was one-dimensional and did not help develop Hal or the plot. This felt like a very forced way to work courage vs. cowardice into the plot. “You’re not scared, are you, Dad?” “Let’s just say it’s my job not to be.” Ick. Here are some more effective examples of family cameos.
3. Main character Hal Jordan makes his first appearance 6 minutes into the movie. While I think it’s generally interesting to try scenes without the main characters (e.g. Dark Knight’s ferry scene), focusing on minor characters to the exclusion of the core of the story is probably unsound. I can’t think of any reason to start with the aliens here rather than either 1) starting with Hal and covering the information about the aliens later, probably when Hal meets the aliens or 2) starting with the aliens doing something which directly involves Hal. For example, it might make sense to start with Abin Sur as he’s looking for a Green Lantern—this would help develop what was so impressive about Hal that he caught Abin Sur’s eye.
Jul 10 2012
As always, please see the movie before reading this review.
1. The conflicts within the team and between the teammates and Fury/SHIELD were impeccable. One aspect which lends depth to the conflicts is that most of the character have intelligent reasons to disagree and the writers don’t push viewers to side with one protagonist or another. In contrast, the Fantastic Four’s squabbles are usually driven by someone (or everyone) being an idiot, which mainly leaves me wanting to punch everyone. The scene where the Avengers confront Nick Fury over what he’s been holding back from them is vastly superior to anything in the FF movies.
2. The writing was very fresh and clever. The arc where Loki allows himself to be taken prisoner in an attempt to provoke Bruce Banner into going crazy is a nice play on the (sort-of-tired) trope where a supervillain breaks out of captivity. Additionally, the scene where SHIELD tries to contact Black Widow (who is being interrogated by Russian smugglers) is hilarious.
3. I believe the main weak point of the movie was the selection of Loki as the main villain—he wasn’t as cost-effective as more limited, terrestrial villains like the Joker, Green Goblin or Obediah Stane. He got better characterization than, say, the alien antagonists in Green Lantern or FF: Silver Surfer, but I don’t believe the movie would have been much worse if all of his lines of dialogue had been cut out. In particular, a character that is based on deception and trickery should develop the plot and characters more with his dialogue than he actually did.
Jul 07 2012
(As always, please see the movie before reading this).
1. To the extent that you cover a superhero origin story, I’d recommend focusing on things and approaches we haven’t seen much of before. I think it would have helped to either spend less time covering the origin story or make it more different than Spider-Man 1. That said, I thought ASM’s approach to the death of Uncle Ben was smoother and more thematically effective–when Peter has the opportunity to stop the robber, there’s a plausible and immediate threat to bystanders. Peter declines and Ben gets killed seconds thereafter. This makes Peter’s motivation for a life-changing decision (becoming a superhero) more plausible. In contrast, in Spider-Man 1, Peter gets torn up because he doesn’t get involved in a relatively minor situation with a police officer present, with only a faint connection between Peter Parker letting the robber go and the robber killing a civilian.
1.1. Peter plays a more active role acquiring superpowers. He was only in the laboratory because he stole an ID and figured out how to thwart a keypad. I think the scene develops him more than just getting lucky at the science fair in Spider-Man 1. (Likewise, he makes his own webslingers instead of getting them from the spider-bite).
2. Beware the idiot ball–make sure there are believable consequences to actions. Peter Parker displayed his superpowers in public so many times that I think his classmates would have to be idiots not to notice something was amiss. (For example, the NBA-caliber dunk? Or breaking a goalpost with a football? Or lifting enormous Flash Thompson by the neck?) When characters make decisions, there should be consequences. For example, if the character is reckless with his powers, maybe other characters come closer to figuring out what’s going on. Or at least start asking difficult questions.
3. Speaking of consequences, I thought the crane scene was kind of cute. (Peter saves a construction worker’s kid and the construction worker later pulls in favors at the climax to help Spider-Man). It helps build a contrast between Spider-Man’s decidedly limited means and, say, the lavishly-funded Avengers or X-Men. I think it’s also a more subtle and effective way of showing he’s more of an everyman hero than we saw in previous Spider-Man movies (e.g. subway passengers throwing themselves between Dr. Octopus and a crippled Spidey felt sort of hokey to me).
4. I thought it was a bit contrived that Peter Parker just happens to find the love interest working for the villain he’s trying to find. One way to clear out this contrivance would have been to make the two more causally connected. For example, maybe Peter Parker’s trying to figure out how to get to the villain, so he introduces himself to the assistant in the hopes that she’d eventually bring him to work. (This would make the relationship seem a bit more manipulative at the beginning, but he could probably come clean sooner rather than later. I think it’d help that he reveals his secret identity to her relatively quickly–he’s more upfront than most superheroes are).
Jul 06 2012
(Please see the movie before reading this review).
1. The conflicts really help make the relationships memorable. One element which worked out unusually well was the depth provided by protagonist-vs-protagonist conflicts (e.g. Gordon conflicting with Dent over who blew a case, Dent respecting Batman but hating Bruce Wayne, Lucius vs. Batman over libertarian issues, cops pressuring Dent to surrender Batman to Joker, Batman vs. Dent over threatening to kill a deranged patient, Dent angry that Batman saved him rather than his girlfriend, Batman vs. a misled SWAT team, Gordon suspecting most of his own unit of possible corruption, etc). The plot has a lot of angles, but each of these conflicts is very easy to follow and is consistent with the character development. I think that the protagonist-vs-protagonist conflicts help give all of the characters something to contribute to the plot. In contrast, if (say) the Thing were cut out of the Fantastic Four movies or Violet were cut from The Incredibles, I don’t think the plot would change much.
1.1. Few, if any, superhero movies have accomplished as much with antagonist-vs-antagonist conflict. For example, Joker orders a hit on Coleman Reese, Joker fights with mob leaders, Joker turns on his own goons, and turns Dent into Two-Face (both physically and morally). One reason that the bank heist at the beginning of the movie is so memorable is because all of the antagonists involved are criminals—in contrast, many superhero movies have the superheroes warm up by taking down faceless bank robbers who receive no development.
2. The characters generally have complex motivations. Probably the most notable example here was Joker trying to prove that everybody is fundamentally as crazy as he is (and that people are only as moral as conditions allow them to be). It made him much more interesting than just another villain trying to make a ton of money or accumulate power without any particular agenda in mind. I’d also recommend checking out how Batman and Gordon conceal Two-Face’s misdeeds to help keep hope and inspiration alive.
3. The use of side-characters is phenomenal. Except for maybe Avengers, I don’t think any other superhero movie comes close in terms of character/plot development or creating interesting scenes. Take, for example, the ferry scene. Batman isn’t directly involved and none of the characters on-screen actually have a name. How many series are there where minor characters could have a compelling scene which develops the plot and the villain? Some other interesting examples where Batman isn’t present:
Jun 05 2012
According to Yahoo News, Warner Bros. originally pushed for the Riddler as the villain in The Dark Knight Rises. “WB’s top executives said, according to [screenwriter] Goyer: ‘Obviously it’s gonna be The Riddler, and we want it to be Leonardo DiCaprio.'”
Sometimes I wonder about the decision-making process at Warner Bros. when it comes to DC adaptations. DC/WB’s non-Nolan movies have averaged 38.7% on Rotten Tomatoes since 2000 and 29.5% over the past 5 years (Green Lantern, Jonah Hex, Watchmen, and The Spirit). RED, the only DC property which was made by a different studio, succeeded both creatively (71% on Rotten Tomatoes) and financially (grossing $199 million against a production budget of $58 million). It has a sequel slated for next year, which will make it the only DC property since 2000 to survive to a sequel without Nolan’s involvement.
May 29 2012
A mother needed help convincing her four-year-old (who suffers from severe hearing loss) to wear a hearing aid. He thought it was decidedly unbadass. In response to a letter from the mother, Marvel Comics created a superhero who used a hearing aid to detect crime. This strikes me as a very thoughtful gesture (and, although it would probably cheapen the moment, very cost-effective public relations).
May 10 2012
Since 2000, movies with 2+ superheroes have averaged 59% on Rotten Tomatoes, whereas movies with a lone superhero have averaged 50%.
Average RT Rating
Average RT Rating
Below, I listed all of the superhero team movies and lone superhero movies which went into these ratings.
May 09 2012
Is there anything about The Avengers you would have done differently? If so, what? (I wouldn’t recommend reading the comments here until you’ve seen the movie–there will probably be many spoilers).
Apr 30 2012
My main reservation is that a large cast frequently leads to more generic characters used in a more rushed way, more storytelling-by-committee (e.g. the studio dictating what can be done with each of the characters or how the plot has to play out), and less time for each character that viewers find interesting. For example, if you like Iron Man much more than Thor OR if you like Thor much more than Iron Man, then having both in the movie will result in less time for the one you want to see.
This Wired article suggests that Whedon and his team are at least aware of these issues, which bodes well. On the other hand, I would have been more encouraged if Whedon had been more involved in the selection of the villain (the company selected Loki for him).
UPDATE: Initial reviews for the movie on Rotten Tomatoes (based on an early overseas release) are astronomically high, 94% so far. Among superhero movies, only The Incredibles (97%) has done better.
Dec 27 2011
My guest article about when it’s a good time to reboot a franchise just got posted at comicbooks.com. The editorial assistance was surprisingly good. The edited article has a slightly more casual voice than most of my content on SN, but I hope you’ll enjoy it anyway.
If you’d be interested in hosting one of my guest articles, please let me know at superheronation-at-gmail-dot-com. I’d really appreciate if you would suggest an article topic (e.g. How to Write an Interesting Sidekick) or some general genre of articles (e.g. anything about characterization) you find interesting, but it’s not necessary.
Dec 02 2011
Here are some points I took away from this article on violence.
1. Very few people are actually prepared for a life-or-death, organ-stabbing fight. “Herein lies a crucial distinction between traditional martial arts and realistic self-defense: Most martial artists train for a ‘fight.’ Opponents assume ready stances, just out of each other’s range, and then practice various techniques or spar (engage in controlled fighting). This does not simulate real violence. It doesn’t prepare you to respond effectively to a sudden attack, in which you have been hit before you even knew you were threatened, and it doesn’t teach you to strike preemptively, without telegraphing your moves, once you have determined that an attack is imminent.”
2. All other things being equal, I would imagine someone that’s pretty mild-mannered and hasn’t been in many fights would probably have quite a learning curve as a superhero. Most violent criminals (e.g. supervillains!) are used to violence that most people could not fathom. In a savage fight, it is very possible that a superhero’s mental/moral hesitations and inhibitions and unfamiliarity with violence could be disastrous. Superhero organizations might want to have new recruits fight nonpowered criminals in relatively low-stakes cases until it looks like they might be mentally and physically hard enough to survive a psychotic killer like Mr. Freeze or a death camp survivor that mentally ripped a foe’s tooth out of his mouth… back when he was a protagonist. And, let’s be honest, it’s not likely that every would-be superhero can successfully make that transition. (If you’re writing a larger organization like the Justice League, what does the group do about heroes that are so ill-suited for combat they will probably get themselves killed? For example, maybe some get retrained as crime-solvers and partnered with ace combatants and maybe others get let go and maybe still more take on important support roles like medic or scientist or whatever that might involve some exposure to violence but aren’t as intense as actually being a combatant).
3. Although I think the author discounts the potential benefits of bravery, I agree it definitely has potential costs. I don’t think we see very much of that in most superhero stories. For example, violence for Spider-Man is sort of Disney-fied–virtually the only permanent costs of violence (Uncle Ben’s death) are caused by not being brave. For most superheroes, I think the violence is heavily romanticized. Being a superhero is more or less fun and games except when a (usually secondary) character dies and, let’s face it, he will probably come back anyway. On the other hand, I personally don’t enjoy deep-R violence and would feel uncomfortable including it in something primarily meant as entertainment. (For example, in Kickass, a gangster gets crushed in a car-compactor–it’s decidedly unpleasant and I’m sort of annoyed it was a laugh-line for the audience).
4. It might be dramatic to make a hero choose between his pride and other goals. For example, if 3+ muggers have guns drawn on Bruce Wayne, it’d be pretty banal for Wayne to flawlessly disarm the criminals and walk away completely unscathed–pretty much every superhero would do the same in that situation. It might be more interesting if the character allowed himself to be robbed, walked away and got his revenge later. How much is his pride worth? Alternately, if the character does decide that his pride is worth risking serious physical injury and/or revealing that he has superpowers, have him pay something for it. (For example, the first sign to Gary that something is not right about his coworker Dr. Mallow is that Gary witnesses several men rob Dr. Mallow, taking among other things a cherished personal memento. Over the next several weeks, all of the assailants end up in mysterious accidents and the good doctor has his memento back. Mallow could have just let it go, but trying to protect his property even after the fact bears a cost for him).
Sep 06 2011
If you’re interested in submitting a comic book, particularly to Image, I would really recommend checking out these answers from Erik Larsen.
Aug 18 2011
I found this Sporcle game’s mix of Shakespeare and Batman so dangerously amusing that I wanted to punch an English teacher in the face and throw him two or three stories onto the street. Then I realized that the closest English teacher was me and I thought better of it.
PS: If you’re a long-time fan of Batman, you might remember that Adam West hid the remote control for the entrance to the Batcave inside a bust of Shakespeare.
Aug 07 2011
*Never proven in a court of law, but Batman isn’t much into legal niceties (like verdicts). Double points if he does Roethlisberger with a Terrible Towel.
Jul 25 2011
I’d give Captain America 3 out of 4 stars. If you’re into superhero action, I’d highly recommend it.
Jul 14 2011
Novelist Jami Gold has two articles about learning from the Green Lantern movie: How Not to Write Characters and How Not to Plot a Story.
I’d also use Green Lantern to show why scenes should usually have some transition explaining why a character goes from doing A to doing B. One of the transitions between a scene of GL talking with his geek friend and a scene of GL talking with his love interest is the geek randomly asking “Hey, doesn’t a superhero always get the girl?” First, the line comes out of nowhere–they hadn’t been talking about romance or the lady until the geek tossed that line out. Second, the line probably doesn’t work well as a transition because it doesn’t create a good reason why GL would want to go talk with his love interest.
There are so many easy ways to switch a scene without anybody noticing the seams. For example, the protagonist-geek conversation could have been interrupted by a phone call or a text from the love interest. Then it would have made sense for the geek to start talking about romance and it would have given GL a good reason to talk with his love interest. Additionally, depending on what she said in the call/text, it could have added some urgency to the impending protagonist-love interest scene.
Jun 28 2011
The good news is that Warner Bros. is planning a GL sequel. The bad news is that the preliminary box-office returns look rough enough (so far) that I do not think the sequel will survive.
Jun 19 2011
Including the older movies, the average Rotten Tomato score was 47.3% for DC and 58% for Marvel. If we look only at movies since 2000, DC drops to 47.2% and Marvel inches up to 60%. DC’s movies have actually gotten slightly worse since 2000.
Jun 18 2011
Curses. I was a lot more excited about GL than the other superhero movies this year (X-Men: First Class, Thor and Captain America) because it’s a more ambitious story, more purely sci-fi than most other superhero stories. Unfortunately, the initial reviews have been, ahem, not favorable. (25% on Rotten Tomatoes compared to 77% for Thor and 87% for X-Men: First Class).
Jun 04 2011
Jun 01 2011