Anyone who has seen Avatar already must agree that, visually, it is simply the most beautiful movie you've ever seen.
I'm not into effects or the latest movie technology, personally, but even at nearly three hours long, I was ready to sit through another showing for aesthetics alone—and I didn't even see it in IMAX.
I saw the film so I could write the counterpoint side to a story about it —I didn't get what the fuss was all about. But, after seeing it, I simply have no negatives to offer. I cried, I jumped in my seat, I probably drooled. It was, hands down, the best movie I have seen in years. I imagine my parents felt the same way the first time they saw Star Wars.
The most common complaint about Avatar, explained most hilariously and effectively by this young critic at the Auburn Plainsman, is that its characters are too flat and its plot too trite.
While critics are quick to give James Cameron and his team credit for the masterpiece filmography, many acknowledge that the story line is a thinly veiled rewrite of American history, this time with the American Indians uniting in triumph over the white imperialists.
Well I don't care if it's propagandist; I am on Team Blue.
I don't know about you, but I go to the movies for their traditional purpose: escapism. I don't want my characters' morality ambiguous or my ends loose. I like to know who the bad guy is, and I want him dead. I want the lovers to end up together despite all obstacles and the story to come to neat resolution. In short, if I wanted to feel like shit, I would just live life and save the eight bucks.
So, for me, Avatar was perfect. It was visually stunning, it had a message I could get behind —I told my best friend midway through that it made me "resent being human"— and it ended just the way I would've liked. It's a revolutionary feel-good movie with calculated room for sequel, which I will definitely be seeing.
When the character of Superman was invented in 1938, it was perhaps easier to see the world in good and bad terms. Fascism was already on the rise in Germany under Adolf Hitler, and the idea of an all-powerful superhero who stood up for people in need was a welcome one. In the nearly 90 years since, though, the world and the character have undergone multiple evolutions, and the thought of someone who is purely good is often met with cynicism or worse.
The new Superman, written and directed by James Gunn, puts the superhero (or metahuman, as the film calls him and similar creatures) squarely in the midst of the modern world, with geopolitical conflicts, mega-corporations, and social media all combining to make the altruism of Superman/Clark Kent (David Corenswet) questionable. That skepticism even extends to his coworker/girlfriend Lois Lane (Rachel Brosnahan), whose knowledge of his exploits puts her in a tricky position personally and professionally.
Lex Luthor (Nicholas Hoult) is out to dominate the world and take down Superman, with his eponymous corporation and vast group of underlings dedicated to doing both. Superman is generally a one-man fighting crew, but he’s occasionally aided by a group calling themselves the Justice Gang, comprised of heroes many have never heard of like Guy Gardner (Nathan Fillion), a version of Green Lantern; Hawkgirl (Isabela Merced), a flying metahuman; and Mr. Terrific (Edi Gathegi), who knows all kinds of technology.
One of the best things about this new version of Superman is that it mostly dispenses with introductions, putting the audience in a world where Superman is already a well-known quantity who’s adored by many and hated by some. Gunn has used his new position as co-CEO of DC Studios to honor the past of the hero and take him into the future. With the 1978 John Williams theme song echoing throughout and Corenswet giving off Christopher Reeve vibes, it’s clear Gunn wants audiences to feel nostalgia while still getting something new.
He also appears to want viewers to fight against the negativity that the modern world can bring. The plot involves manipulation of the public, usually at the hands of Luthor, through bombastic talk shows, political theater, and social media, the latter of which — in a great joke — comes to involve hundreds of typing monkeys. The film could be read as a rebuttal of many real-world ills as, despite Luthor’s machinations, many choose to continue to believe in the goodness of Superman.
There is a lot going on in the film, but somehow it never comes off as overly complicated. Superman’s relationship with Lois Lane and Luthor’s attempts at taking him down are given the most prominence, with everything else supporting those two main things. The Justice Gang is a fun addition, with Mr. Terrific becoming the breakout hero of the group. The addition of the (CGI) dog Krypto provides levity, poignant moments, and unexpectedly great action scenes. The only part that gets somewhat short shrift is the crew of The Daily Planet, with everyone besides Lois and Jimmy Olsen (Skyler Gisondo) getting little more than face time.
Being the new Superman is a lot to live up to, but Corenswet is completely up to the job. He, like Reeve, plays the character as someone who is earnest but not naive, a quality that comes through even when he’s in the middle of fight scenes. Brosnahan is also fantastic, providing a nice balance to the relationship while also proving the character’s own worth. Hoult makes for a great new version of Luthor, and Gathegi nearly makes the case that Mr. Terrific should get a starring film of his own.
Just as he did with the Guardians of the Galaxy trilogy, Gunn has shown that success can be found through making characters people want to see. Not everyone in this Superman will be familiar to viewers, but in the end a group of people working together toward a goal that serves the common good is one worth watching and cheering for.
