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An assured tonal divorce from Richard Donner’s bright, colorful , offering a more coherent and, dare we say, amusing take on Snyder’s oft-ponderous gods-among-us extended universe — no doubt courtesy of Joss Whedon’s 11th-hour reshoots.Look past the wooden dialogue (generally delivered by Ben Affleck’s Batman and Henry Cavill’s Superman), questionable characterizations (we’re not entirely sold on Jason Momoa’s surfer-boy Aquaman), and unconvincing CGI (the villainous Steppenwolf could’ve use a digital polish) to discover a solid popcorn-cruncher highlighted by Gal Gadot’s wondrous Wonder Woman and some visually stunning setpieces.
We are sticking to live-actions stand-alone films only, in case you’re wondering why stellar cinematic ‘toons like will have to best a wide range of DC-based films dating back to the 1950s.
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Those origin-story sequences are the highlight of Nolan’s 2005 reboot, an otherwise uneven film that’s overstuffed with plot involving Batman’s first run-in with detective Jim Gordon (a great Gary Oldman), his relationship with lawyer Rachel Dawes (an awful Katie Holmes), and clashes with mob boss Carmine Falcone (Tom Wilkinson) and psycho psychologist Scarecrow (Cillian Murphy).
Nolan’s action choreography is a helter-skelter mess, and his script’s habit of having every character talk endlessly about “fear” turns the proceedings far too monotonous.
We are sticking to live-actions stand-alone films only, in case you’re wondering why stellar cinematic ‘toons like is the definition of ill-conceived — a high-profile, effects-heavy sequel made by a company that didn’t have the money or skill to pull it off.
Inspired by star Christopher Reeves’s anti-nuclear proliferation politics, the story concerns Superman’s attempts to rid the globe of atomic weapons, a mission that’s opposed by steroidal, long-locked Nuclear Man (Mark Pillow) — created by Lex Luthor (Gene Hackman) — who looks like a reject from .Until Christopher Nolan arrived, it effectively did what no supervillain could: Kill the Batman." data-reactid="29", Joel Schumacher’s dreadful 1997 sequel.Until Christopher Nolan arrived, it effectively did what no supervillain could: Kill the Batman.and DC Comics’ second Superman reboot drew the ire of die-hards for depicting its hero, during his climactic showdown with genocidal Kryptonian villain General Zod (a fantastically fanatical Michael Shannon), committing a cardinal canonical no-no: murder.However, that act, as well as the near-decimation of Metropolis during Supes and Zod’s throwdown, are part and parcel of a film aiming to reposition the character as a God forced, somewhat reluctantly, to come to grips with the responsibility, and consequences, of his powers.Reeves’s maiden turn as Superman is hopelessly stilted and corny, and the lack of action (aside from a single animated flying sequence and an awkward car chase, there’s no excitement to be found) leaves this as a best-left-forgotten relic.