Where's the new trailer? Have you seen pictures of Iron Man's new costume? The buzz for the next one begins within days of the latest film's opening. The modern superhero movie leaves impressions as light as footprints in beach sand. The sand's all smooth now. So we keep walking in the same direction. Even nearly great superhero movies suffer from the curse of aesthetic same-old same-old. The second "Captain America" is easily the best superhero film produced since Christopher Nolan stopped directing them.
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They want "The avengers." If that's not possible, they'll settle for " Iron Man 2 a mostly terrible and trashy film that's intermittently funny and asks almost nothing of write the viewer and that fits into a much larger puzzle made entirely of square pieces. Advance excitement for "Guardians of the galaxy" seems weirdly averse to lessons learned from prior Marvel films. If we've learned anything from giving money to this franchise, it's that we'll love oaks the wiseass banter as long as nobody's running, jumping or punching anything. . Once the cgi robots and shootouts and explosions kick in, it's like a set of ankle weights dragging wit to the floor of a murky digital sea. This genre is where imagination goes to drown itself. We're supposed to forget that. The forgetting is a part of the experience of going to superhero movies. Ritualized amnesia is Hollywood's best friend. We forget the good and bad superhero films alike because these days it's all about what's next. Where's the new teaser?
Shaun of the dead zombieland " and the "Days" movies have daddy in common besides a basic situation? Little big Man the wild Bunch blazing Saddles silverado ". Unforgiven " and " Open Range " have in common besides horses and ten-gallon hats? What do modern superhero movies have in common? Once in a great while you get an outlier like " Hellboy " or " Watchmen " or " Kick-Ass." There's a reason why anybody seeking to counter gripes of superhero film sameness brings up "Hellboy" or "Watchmen" and "Kick-Ass because most superhero movies are. Their goal is to minimize financial risk and avoid a scenario in which viewers buy a ticket for the latest Marvel picture and get something substantially different from what they've been conditioned to expect. The studios don't want another Ang lee " Hulk " (a Freudian psychodrama with split-screen imagery that was truly strange and special but didn't really work).
As long as viewers ask little of superhero films, there's no impetus for studios to encourage an auteurist vision. That's how they like. Real artistry terrifies them. It's too volatile and uncertain. They'd rather have a mediocre sure thing than encourage filmmakers to try something truly new. Personal expression on this scale is high-stakes gambling with someone else's fortune. That's why, thirty-six years after "Superman, the movie we still haven't seen a range of big budget superhero films biography as tonally different as post-". Night of the living dead " zombie pictures, or Hollywood westerns released after vietnam, when the genre was allegedly dead. What do george romero's ghoul films, "Dead/Alive the "Rec" series, ".
It's the big Mac. The dave's Hot 'n juicy from Wendy's. As cold as this strategy is, it works. The audience seems to have no interest in demanding better films, much less excellent ones. It settles for ok and better-than-OK. As long as the films aren't unbearably bad or unnnervingly personal, they're content. That's great news for the studios and their accounting departments but terrible news for popular art.
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Think of Cap just-friends-flirting with Black widow or visiting a meeting for traumatized veterans in the second "Captain America. Andrew Garfield, one of the great screen criers, tearing resume up as Peter Parker contemplates his late parents or remembers a line from his sweetheart's valedictory address or tells his Aunt may "I'm your boy, you're my everything." As a friend observed, the gap in artistic. The "ground rules" scene between Peter and Gwen in the new "Spider-Man" feels so sweetly alive—so much like a conversation that actual young lovers might have—that when you get to the end of this overstuffed and overlong blockbuster and have to suffer through yet another. Advertisement, the problem isn't that the movies are product—most movies are product, and always have been—but that they can't be bothered to pretend they're not essay product. That's the difference between popular art and forgettable mass-produced entertainment: the mass-produced entertainment flaunts its product-ness, then expects us to praise even minor evidence of idiosyncrasy as proof that we are not, in fact, collectively spending billions on product.
The marketplace rewards each new superhero movie with a reflexive paroxysm of spending, guaranteeing each 200 million tentpole a boffo us opening that follows a boffo international opening (the new release pattern flips the old one). It's an entertainment factory in which the audience is both consumer and product. Its purpose is not just to please consumers but to condition and create them. The fat bottom lines guarantee that neither studios nor producers nor writers nor directors will feel much pressure to make superhero films great, as opposed to better than expected. The movies are are "different" from each other in the way that burgers sold by global fast food chains are "different".
Giant creatures roar and stomp in more or less the same way, across cgi'd landscapes rendered in more or less the same way, unless the threat is Earth-made, as in the two "Captain America" films, in which case it's helicarriers rather than alien starships that. At some point somebody straps on power armor or climbs inside a robot. Machines bash other machines for a while. The bashing is choreographed and shot and edited pretty much as you expect, with few aesthetic surprises. You hear metal groaning and rubble crashing to earth.
Walls crumble, craters open, bridges collapse. Spider-Man skydives into the manhattan grid, Thor whooshes hither and yon, Iron Man plummets from in the ionosophere and is saved by The hulk, and somehow none of it has the visceral or dramatic weight that it should. The smaller an action scene is, the better the chance that it'll be genuinely exciting (the elevator dustup in the new "Captain America" is the best recent example). The bigger the canvas, the more boringly typical the action becomes. Boring action makes hash of any character beats that the filmmakers and actors went to the trouble of setting. Even if you generally enjoy these movies, you know you can visit the concession stand during the scenes of heroes being heroic and villains being villainous and not miss anything. If there's in a scene, you're free to get popcorn or call home. The good stuff is cgi-lite, or cgi free.
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Huge bag of weed? But these defenses sound desperate when you look at the films as whole objects. Despite their fleeting moments of specialness, remote "The avengers the "Iron Man" and ". Thor " and "Captain America" films, the new ". Spider-Man " series and "Man of Steel" treat viewers not to variations of the same situations (which is fine and dandy; every zombie film has zombies, and ninety percent of all westerns end in gunfights) but to variations of the same situations that feel as though. As long as people are talking, there's a chance the movies will be good. When the action starts, the films become less special. Shots of people fighting inside and atop collapsing and burning structures all feel basically the same, though if you're lucky the filmmakers toss in an emotionally resonant moment, such as the hand-to-hand climax of ". Captain America: The winter Soldier." Sometimes the camera shakes a little, sometimes a lot.
When competently done, sapphire superhero pictures can be fun, or at least intermittently diverting. The problem with the superhero movie as currently practiced by disney/Marvel (the interlocking "universe" series) and Sony/Marvel The Amazing Spider Man" and ". The Amazing Spider-Man 2 and dc (whose recent ". Man of Steel " aped that Marvel feeling and is busy building its own version of Marvel's feature film universe) has nothing to do with the genre's component parts, and everything to do with execution. Advertisement, specifically, the problem is the visual and rhythmic sameness of the films' execution. Generous critics and viewers point to fleeting moments of personality, such as the flirtation scenes in the recent "Amazing Spider-Man" movies, and the improv-flavored conversations in the ". Iron Man " films, and Joss Whedon's very Whedon-y quips in ". The avengers " you really have got a lid on it, haven't you?
megavitamin (7 years ago) posted by michael24 14, rafini (7 years ago) posted by Stevennix2001 11, flightkeeper (7 years ago) posted by Stevennix2001 1, midnight Oil. Seriously (7 years ago) posted. Seriously 5 ith (7 years ago) posted by Stevennix2001 6 ith (7 years ago) posted by jonathan Janco 2 were123 (7 years ago) posted by were123. SirDent (7 years ago) posted by habee 0, andrilene (7 years ago) posted by Andrilene 8, don Ship (7 years ago) posted by 3 Finger reader 94, don Ship (7 years ago) posted by kamranamn 36, jake gene barnes (7 years ago) posted by jake. By, matt Zoller seitz, may 6, 2014, i don't hate superhero movies. Repeat: I do not hate superhero movies. They're another genre in a medium that thrives on genre, one that's as ritualized in its story beats as the western, the romantic comedy or the zombie picture.
I have plenty of ideas, but Im bored with my ideas. That way im guaranteed at least one person other supermarket than myself will give a shit when I post the thing. So heres your chance : If you could rent my brain to write something, what would the title of the essay be? What topic do you think Im chicken to write about? What mean scary question do you want me to answer? Lets get it on! Share, with Others, sign Up for Berkuns Best Posts, if you sign up to receive his best posts via email, youll get. Free copy of a preview edition. Mindfire plus free chapters from all of his bestselling books.
Essay favorite superhero my
What is your favorite movie? Describe the characters, the story, the scenery, and what you liked the most and the least about the movie. Posted on, march 19, 2007 in, essays, writing Well by, scott Berkun, confession : i am in serious essay debt resume and I need your help to get out. The story : I made a commitment when I quit msft in 2003 to publish an essay a month on the website. Thats 12 a year. Here are my stats: 2006 : 5 (!) 2005 : 12 2004 :. So i owe the universe or myself (whomever cares more 9 essays. Not to mention the 3 so far this year that havent materialized yet.