Warning: This review contains spoilers.
Batman v Superman:
Dawn of Justice is the child of two parents. On the creative side, there is
a tradition of DC's two flagship superheroes who sometimes fight. On the business
side, there is the invisible presence of Marvel's cinematic Avengers franchise,
which has produced blockbuster after blockbuster, tying several successful
sub-series together to build a massive, shared audience of devotees – and
revenue. DC's superheroes have had success on the big screen only as
individuals, and only occasionally. Unmistakably, Warner Brothers is now trying
to build on the success of 2013's Man ofSteel as the anchor of a multi-hero megafranchise like Marvel's cinematic Avengers
(and, for that matter, X-Men).
In the world of BVS,
Superman's debut took place in a world where an elder Batman has been fighting
crime in Gotham City for twenty years now and sociopathic businessman Luthor are
already prominent, as had been hinted via allusions back in MOS.
BVS provides two
strong impressions: First, it is for most of its ample running length
absolutely magnificently scripted, directed, and acted. The photography is
gorgeous. Characterization is well-rounded yet recognizable as versions of the
archetypes from comicdom. This is a very well made movie. The second
impression: This movie contains perhaps the least fun of any superhero movie
ever. Astonishingly, it begins and ends with funerals.
To a considerable extent, those two outstanding aspects of
the film hold most true for the first hour and a half. Then, as the careful
setup turns to climactic action (there is plenty of non-climactic action
earlier) the script tosses some red meat for fanboys and fangirls to cheer, and
the film turns into a movie. This is perhaps a good thing, because, to fulfill
the goal of launching a major cinematic universe, BVS needs to convince moviegoers that it's not going to be a bleak,
depressing (albeit well-written) cinematic universe.
No one will leave the theatre complaining that there wasn't
enough movie or love for DC source material. BVS covers the themes of three or four landmark DC works. It has
about a half-dozen lines from The Dark
Knight Returns, which is unquestionably the central source from printed
media, but it also features a dream scene right out of Red Son, a massive plot to frame Superman a la Lex Luthor: Man of Steel, and then launches right into the Death of Superman story while
introducing the Justice League-to-be very economically. There is even a scene
where Lois Lane dives into water to recover some kryptonite just like Miss
Tessmacher did in Superman: The Movie.
Perry White mentions Superman's origin year of 1938 in some canny dialogue, and
there's a kidnapping in Smallville reminiscent of the early Byrne issues of Superman.
Despite the heavy borrowing, the overall plot is original.
About half of it had already been communicated in the trailers. The film opens
with cinema's nth retelling of the Waynes' murder. At their funeral, young Bruce
falls into a cave at Wayne Manor and – this part is just a dream – bats swirl
around him, flying him back to the surface. Then we see a second defining
trauma in Bruce Wayne's life: His physical presence in Metropolis during the
Superman-Zod battle that killed some people Wayne was close to.
We flash forward 18 months: Superman has become the world's
greatest hero… but nobody whatsoever seems to be happy about it. Awed,
sometimes grateful, but nobody in the movie is happy, so they aren't happy when
Superman saves someone's life, either. Batman, meanwhile, has become darker in
his operations, branding the criminals – the news calls them his victims – with
a hot bat symbol. Superman and Batman intensely dislike one another from afar –
Superman loathing the cruelty that Batman shows and Batman loathing the lack of
controls in place to stop Superman. This is a sentiment shared exactly by a
U.S. Senator and a giggling, rich, brilliant, and mentally ill Lex Luthor. All
three – Wayne, Luthor, and Senator Finch – undertake plans to take control
back from Superman. As it turns out, Luthor is the master chess player
directing the others like pieces on his board. Knowing that he can't hurt
Superman directly, Luthor gives Wayne and the world more reasons to fear Superman,
using his own gunmen to cause collateral-damage deaths during a Superman
mission in Africa. When Superman arrives in Washington to testify before
Congress, the film unleashes one of its biggest surprises when a massive
explosion caused by Luthor kills the committee and many civilians Superman is
unharmed, but the world wonders if he somehow caused it.
Batman is, in the meantime, playing the world's greatest
detective, working on a case that leads towards an unknown master criminal who
turns out to be Lex Luthor, importing kryptonite via ship from MOS's Indian Ocean battle site back to
Gotham/Metropolis. Batman infiltrates Luthor's headquarters, stealing the
kryptonite for himself, which was Luthor's plan all along. Bruce Wayne keeps
catching sight of a gorgeous, elegant, and mysterious Diana Prince who is also
investigating Luthor. While following the breadcrumbs that Luthor intentionally
left in order to drive Batman into battle with Superman, Batman also finds
Luthor's computer files indicating the existence of four meta-humans – Wonder
Woman, Cyborg, Flash, and Aquaman. Batman also sees the Flash in a dream and/or
interdimensional interlude reminiscent of the Flash speaking to him early in Crisis on Infinite Earths, in which
Flash gives Batman a warning – one that's hard to hear, but apparently
useful. Meanwhile, Clark Kent has become Batman's biggest detractor, which
leads to Superman zooming down and threatening Batman, telling him to end his
bat career now, or else.
Luthor plays his first plan to kill Superman just past the
film's midway point. To summon Superman, he throws Lois Lane from the top of
the LexCorp building. She's safe, but Luthor shows Superman photos of a bound
and tortured Martha Kent. Luthor tells Superman that Martha Kent will die
unless Superman kills Batman. With no choice, Superman goes to Gotham to try to
talk to Batman, who is ready for him in a battle a la Dark Knight Returns. Sonics and machine guns slightly irritate
Superman, but kryptonite powder/gas has its intended effect, allowing Batman to
pummel Superman for a while. The gas wears off, giving Superman the upper hand,
but Batman fires a second dose at him, beats him for a while, then lifts a
kryptonite spear over him. Begging for his life, Superman tells Batman that he
has to save Martha. Here the film catches one of the DCU's least-noticed quirks
– that Martha Wayne and Martha Kent share a first name. Hearing his late
mother's first name, Batman becomes insane with curiosity – why did
Superman say "Martha"? Lois Lane arrives in time to tell Batman why, and this intel
ends the fight, making the two men allies.
While Batman saves Martha Kent, Superman goes to corral
Luthor, who unleashes his Plan B – a creature he created by combining his
own DNA with that of General Zod. This is sort of a combination of the origin
stories of Kon-El and Bizarro, but the result is unmistakably Doomsday. This raging, superpowered behemoth begins to
pummel Superman in a battle reminiscent of MOS's
Superman-Zod battle. Suddenly, Wonder Woman shows up, and the two superpowered
heroes swap blows with Doomsday while Batman manuevers around the battle scene,
looking to make a blow of his own. Wonder Woman's skill and zeal in fighting
Doomsday is one of the lightest moments in the film, but only manages to hold
the monster off for a while. Superman retrieves the kryptonite spear that
Batman crafted and, after resisting Lois Lane's pleas for him not to do so,
flies in to plunge the weapon into Doomsday's heart. At the same time, the
monster plunges a massive, bony spear into Superman's chest, killing him.
Wonder Woman and Batman stand over the two dead combatants.
Now Superman is dead and the world knows that Clark Kent was
his alter ego. Superman has a glorious funeral with, suddenly, America's
gratitude. Bruce Wayne tells Diana Prince that they must find the other
superheroes and prepare to fight as a team. Luthor, from a prison cell, gloats
to Batman that by killing Superman, he has "rung the bell" to summon
a new, dark force, which seems to introduce Darkseid as the next Justice League
film's villain. Bruce Wayne and Lois Lane mourn at Superman's funeral, but in
the film's final moment, we see Superman's coffin and get a sign that there
will be a resurrection.
There are virtually no missteps in Batman v Superman. It's wonderfully crafted: Every scene, every
shot, every line of dialogue achieves just what the creators intended. It's
also relentlessly dark and brooding, with sex trafficking, child molesters, torture,
and terrorism just part of the background. This cinematic DCU, even with
superheroes, is worse than our own world. Warner Brothers is betting that
people will enjoy visiting this dark place one or two times a summer for the
next few years. I'm not sure of the audience they are hoping for, but they seem
to be intent on an audience closer to that of The Godfather than Superman:
The Movie. Serious comic book fans may enjoy seeing their heroes in such
realistic fight scenes. Families and couples on dates may find themselves
watching Avengers movies at the next movie screen over.