Not that he needs me to say it, but @SiddhantAdlakha is a gentleman and a scholar, and one of the finest critics to write about the Marvel Cinematic Universe from a place of knowledge and insight.
Also, it is frankly terrifying that @ign would consider replacing him as a reviewer on #Loki because he gave an opinion on the show that rabid Marvel fans didn’t like.
It’s a potentially chilling critical precedent. “Validate fans’ opinions, or else…!”
It’s weird how insecure fans get about these things.
There are plenty of my peers and people I respect who hold different opinions than I do.
However, I am secure enough in my opinion to know in my heart that “Demolition Man” is a true masterpiece of American cinema.
Even ignoring its potentially chilling implications for the industry and the profession, what does this whole panic say about fandom?
Fans claim they want the things they love to be taken seriously, and then start issuing death threats the moment someone takes them seriously.
Anyway, this is a travesty.
And it doesn’t bode well.
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One of the most interesting things about "Suicide Squad" is the weird middle-ground that it occupies in terms of production.
It's a Marvel-style IP-driven project, but it was clearly designed as a Warner Bros. talent-drive production.
In that it's notable for re-teaming the talent that worked together on the quirky (and largely forgotten) con artist movie "Focus" from the previous year, Margot Robbie and Will Smith.
The idea is to put them both in a comic book movie, and hope that it'll work.
Just following on from that discussion of Zack Snyder’s “Justice League”, some thoughts that were too nerdy and esoteric for the article.
In terms of positioning “Justice League” as a reconstruction, it’s obvious even looking at the comics from which it draws.
“Batman v. Superman” drew very heavily from two of the biggest “dark age of comics” stories, and hinted at a third.
A lot of the Old Batman Versus Institutionally Challenged Superman stuff comes from Frank Miller’s “The Dark Knight Returns”, which ushered in “the dark age.”
The climax of the film is lifted directly from the mid-nineties event “The Death of Superman”, which involved - you guessed it - the death of Superman and the introduction of Doomsday.
It was the peak of the nineties “darker and edgier” era, and the height of comics speculation.
It’s... fine. Big, messy, sprawling, sweeping, exposition-laden, indulgent, mythic. I reviewed it here for @EscapistMag.
WATCH:
As #ZackSnydersJusticeLeague is a four-hour film, and because I am somebody who has lots of thoughts about regular-length movies anyway, I wrote more about it.
Notably, however you feel about Snyder, the restoration of his vision should be celebrated.
What’s interesting about Snyder’s work on the DCEU, from “Man of Steel” to The #SnyderCut, is that it exists in conversation with the characters’ history.
In particular, Richard Donner and Richard Lester’s “Superman II” is a cornerstone of the DCEU.