This movie gave me an actual headache.
Spoilers ahead, but I recommend reading anyway. It’s not worth the trip to a theater, and if you’re determined to do so, knowing what you’re in for might save on brain cells. But you know, you do you.
I find that I generally agree with the Rotten Tomatoes rating of a film, but disagree with the consensus on why. Many critics said this movie was too complicated. On the contrary, it was very simple. Batman and Superman don’t trust each other, and Lex Luthor manipulates that distrust until they fight, but then Batman changes his mind because both their mothers are named Martha. They team up with Wonder Woman to fight a big monster, and Superman dies but only for until the sequel. Obviously.
All that seems complicated because the film is made of too many short scenes, all of which cut suddenly to the middle of the next one, so your brain is constantly playing catchup. The following is typical of my thoughts throughout the movie.
“Wait, how did Batman know to be here? Oh, he was decrypting those files last we saw him, so I guess they had the location. And he assembled a whole team in the meantime. Wait, how did he know which files to decrypt to begin with? Okay, he was stealing them from Lex Luthor, and I guess they established back when he got the invitation that he thinks Luthor has information on something for reasons. That scene wasn’t really clear on what Luthor had, so I think I was looking too hard for clues about that to remember how he knew Luthor had whatever it was. Or maybe it was the other way around. Anyway, he’s opening the thing, and…. oh, looks like a trap. And the person behind the trap was, uh, Superman? Why is Superman being so aggressive? Is that out of character? They haven’t fully established where this interpretation falls on the Pacifistish Hero spectrum. Oh, okay, it was all a dream. Hey! Hey movie! You’re only allowed one of those dream sequence fake outs per film, and you already done that twice!”
Oh, yeah, about ten percent of the in media res scenes turn out to also be dream sequences or fantasies. That really helps with the coherency.
So that’s the first issue; in lieu of having a complex web of intrigue, they shoot all the scenes in the most confusing way possible and hope you can’t tell the difference. The second issue has to do with broken promises and the elements of stories.
There are many ways to model stories, but one of my favorites is to break them down into elements of plot, character, setting and theme. It’s a helpful abstraction because it works across genres and culture, and it helps explain why the same errors can be tolerable in one story and unforgivable in another. All four elements are present in all stories, but most stories choose to emphasize one or two over the others. Mad Max: Fury Road had some flaws in its worldbuilding, but from the start it emphasized events and characters. The action was exciting and well choreographed, while the characters were remarkably rich. As a result, we were satisfied with the two other elements lagging behind.
Way back in the earliest teasers for Batman v. Superman, the creaters began promising that this would be an idea story. They took two characters with a common goal but deep ideological differences and pitted them against each other. They showed us society disagreeing in conflict about which was good and which was evil. They even brought in religious references. So we came prepared for superheroic fisticuffs, but we also brought our egghead glasses. We were prepared to go home talking about the mirror this holds up to society, or something equally pretentious.
Bruce Wayne and Clark Kent don’t have any interesting philosophical debates. Bruce Wayne goes, “You have too much power and might turn bad, so even though you’re clearly good now I have to destroy you!” Clark Kent goes, “You hurts bad guys a lot so you must be stopped!” I go, “Anyone going to point out that you are both powerful guys who might eventually be corrupted by said power, and furthermore you’ve both chosen a career path that involves some collateral damage? Anyone?” No one does. The only reason anybody objects to either of them is that they’re super powerful and also sometimes people get hurt. Well, that applies to the police, the military, the government, and any other agency of power. People point out that some people approve of them and some people don’t. That applies to… everything. Period. The specific contrasts between Superman and Batman are there, but nothing is said or done about them. Lex Luthor doesn’t even have an interesting reason to oppose them. He’s just a generic nihilist.
And yet, the film never stops reminding you that you were here for a thinky movie. It’s got the non-linear complex structure of the intellectual action film. It’s got the somber music and dark lighting.
And the religious symbolism! Symbolism works best when used sparingly to subtly emphasize certain characters or events. This is just everywhere, crosses and halos and the camera zooming in on some bystander praying. It’s not there to say anything, but its everywhere. Some people draw parallels between Superman and God, because, uh, they’re both way powerful and people look up to them. That’s it. They weren’t saying anything interesting about God, so much as giving me the impression the props department had a 50% off your entire purchase coupon at Family Christian Bookstores.
It was so ubiquitous, I started looking for it when it wasn’t there. Honestly. At one point the camera lingered on a hole in the wall. The hole looked kind of like a fish, so I wondered if they were going for an ichthys, but it looked more like the Moby Dick restaurant sign. Then the fighting resumed and I decided it was just the place where Superman threw Batman through drywall. In my defense, my head had been hurting for a while.
In short, they let people down on their main promise. If this is an idea film, it explores said ideas like an argument on Facebook. Nowhere does anybody articulate their full point of view. Nowhere does anybody change their mind for any interesting reason, and when characters do talk they talk past each other. The only aim of 70% of the dialog is to spout some quotable soundbite, each of which sounds good in isolation, none of which meaningfully advances the conversation. Put that all together and you get a lot of people with black and white mentalities babbling at each other and saying nothing.
Huh. Maybe, in a completely unintentional way, it said something about society after all.
Tune in next time for me being way less grumpy, hopefully. As always, thanks for reading.