“Tonight’s Forecast, A Freeze Is Coming”

Batman (George Clooney) and Robin (Chris O’Donnell) face two new challenging villains. They are Mr. Freeze (Arnold Schwarzenegger) who is building a weapon to ransom Gotham for money to find a cure for his terminally ill wife, and Poison Ivy (Uma Thurman) who seeks to punish humanity for its environmental destruction. Meanwhile, Robin feels like Batman doesn’t trust him. Their faithful butler Alfred (Michael Gough) is slowly dying. And Alfred’s niece Barbara (Alicia Silverstone) is poking around Wayne Manor. Will the Bat-family survive?

“If I Must Suffer, Humanity Will Suffer With Me”

One of Batman and Robin’s biggest problems is that the film has numerous plotlines competing for screentime and many of their tones clash greatly. One minute we are indulging in silly slapstick action and ice puns, then we are suddenly dealing with a long-time Bat-family member gradually losing their life. Furthermore, because of the bloated story, several plotlines feel underdeveloped (Batgirl’s subplot) or pointless (Bane’s inclusion).

As well as this some of the film’s components feel very slapdash and can take you out of the experience. This includes the writing plot holes. For example, Mr. Freeze using a machine powered by huge diamonds to ransom Gotham rather than selling the diamonds on the black market. Which would probably be just as profitable. Along with this some of the CGI has aged incredibly poorly. The human figures move very unnaturally and a few sequences look barely finished.

And of course, there is the grating cheesy dialogue and the performances from Arnold Schwarzenegger, Chris O’Donnell, and Alicia Silverstone which range from bland to irritating to hilariously misjudged.

“You Lie”

Unfortunately, a lot of good-faith criticism of Batman and Robin is lost among complaints about its deviation from the darkness of Tim Burton’s Batman films and Batman and Robin’s suits having nipples and rubber bums. You can prefer the Tim Burton films over Batman and Robin. But, a lighter tone doesn’t necessarily make a film bad. And complaining about something as harmless as Bat-bums/nipples feels petty and slightly homophobic through its ridicule of something potentially appealing to a gay audience. It’s therefore regrettable that these complaints are what largely stuck with the film.

“That Is The Nature Of Family”

However, Batman and Robin does have genuinely praiseworthy elements. Firstly, there is Elliot Goldenthal’s music. Full of bombastic epic sweeps and sultry seduction. It makes the film feel exciting throughout and is a fine listen.

Then there are the undervalued performances by George Clooney, Uma Thurman, and Michael Gough. Clooney perfectly fits the role of playboy Bruce Wayne. He also adds a sly self-awareness to his Batman which makes him an enjoyable presence. Additionally, this allows him to get away with his cheeky humour more than other cast members. Uma Thurman is an absolute blast as Poison Ivy. She really embodies Ivy’s seductive and bold nature and every time she appears her energy makes it impossible to look away. That said Michael Gough is the film’s true star. Effortlessly humorous and heartfelt, his interactions with the Bat-family, particularly Clooney, add real dramatic weight to proceedings. Truthfully his storyline is worth the watch alone.

Finally, the cheesy dialogue, flimsy plot, varying acting quality, tonally mismatched story elements, loud colours, wild theatrical costumes, and other elements combine well to create a fun, campy atmosphere that helps excuse some of the film’s worst excesses. Making the film genuinely entertaining to watch despite itself.

Was It Really That Bad? No

Regrettably, most audiences only view Batman and Robin as a punching bag. Yes, the film has a story, CG, and minor acting problems but it also has many aspects to appreciate and enjoy. Including its infectious atmosphere, its music, and some underappreciated performances. After years of dour, joyless Batman films, we need something as unapologetically bright and fun as Batman and Robin.

Also Read: The Batman: Snyderverse and the DCEU

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Today, we will look at how DC’s actions feed into sex-negative attitudes in media. Why sex is such a huge issue and why other mediums are seen as more capable of discussing sex? But let’s first ask why DC wanted this scene cut?

Superheroes are for children

Three potential reasons explain DC’s decision. Firstly, many view Batman as a children’s superhero, therefore depicting sex is inappropriate. However, Harley Quinn is aimed at older audiences. It features swearing, violence, and mature themes. So why restrict sex?

Secondly, DC could see this as out of character. Superheroes are righteous therefore Batman wouldn’t have sex with Catwoman. Except for Batman, over his 80+ years existence, has been written as a morally questionable vigilante (the Burton and Nolan movies), a camp icon (Adam West’s era), a teen heartthrob (Gotham High), and more. Even Batman’s aversion to killing and guns has been challenged (Batman V Superman). So there is hardly a “definitive” Batman this action deviates from. 

Finally, DC wants to protect profits. Because ratings boards view oral sex with women unfavourably, including this scene might restrict the series potential audience with a higher age rating. But considering DC’s parent company owns their own streaming service a higher age restriction would hardly affect distribution. And DC has released Batman media showing him unheroically killing people (leaving them in crashing vehicles, blowing people up, or shooting them) as well as having sex with daughter figure Barbara Gordon (Batman: The Killing Joke). Not to mention numerous comics where Batman has sex (Son of the Demon and Batman Rebirth) or performs horrifically violent or abusive acts. This definitely puts DC’s pearl-clutching over Batman and Catwoman’s hanky-panky into perspective.

Art and Sex

So why is DC more concerned by Harley Quinn’s sex scene than sex in Batman comics? Well DC received substantial backlash over Batman’s sex scene in The Killing Joke animated movie. And because Harley Quinn has a large viewer base DC could simply be trying to please a broader audience. Meanwhile, comics are seen as niche and able to take risks. But The Killing Joke backlash was about more than simply showing intercourse. And many popular adult animated shows feature sex scenes, like South Park.

An alternative explanation is that the comic medium is now seen as more mature. Like animation, comics were once seen as children’s entertainment. But since the 1980s comic houses like DC have been exploring new avenues of storytelling and with this, came more discussion of sex. And it has mostly become the medium’s norm. Thanks to fans embracing it and the creator’s and publisher’s willingness to explore it. 

Let’s Talk About Sex

Truthfully, DC’s removal of the scene isn’t surprising. Sex and violence are often big concerns within media. However many see depictions of sex as a greater threat than depictions of violence. 

This is because most people in western democracies think violence is unlikely to affect them. Thus it seems inherently unrealistic. Meanwhile, sex is a fact of life and some argue that depicting sex without showing consequences (pregnancies and STI’s) encourages unsafe practices. 

Nevertheless, one of the most effective counters to unsafe sex is comprehensive education on the subject. But the unwillingness to discuss or depict sex makes it culturally taboo. It also hinders education and negatively affects people wanting to seek help or develop their identity. This is especially problematic when much of the entertainment which does focus on sex prioritises male pleasure over female pleasure and agency. Thus erasing scenes like this has a very negative cultural impact.

Conclusion

Despite their comics successfully exploring sexual themes, DC clearly views animation as incapable of dealing with this topic. DC’s decision to excise Batman and Catwoman’s sex scene is another example of media sex-negativity that denies the opportunity to discuss and encourage openness towards sex and to centre discussion of female pleasure. Ironically, showing superheroes like Batman caring about Catwoman’s pleasure would have been the most heroic thing to do.

Also Read: With The Batman Now Set In Earth-2 and Calls To #RestoreTheSnyderVerse, What Will Happen With The DCEU?

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To ensure we don’t continually focus on the same properties and characters each selected fan film will be from a different comic company. We will look at the narrative of each film and explain what makes them special.

2000AD – Rogue Trooper: The Quartz Massacre

When Genetic Infantrymen (artificial soldiers) are airdropped onto Nu-Earth they are ambushed by an army of Norts. Only one GI remains with his body intact, Rogue. Can he escape the ambush alive? 

This brief adaptation of a 2000AD staple makes up for its short length with amazing action and effective economic storytelling. Within five minutes the narration and visuals demonstrate the conflict’s scale and why we should root for Rogue, as he navigates the hostile battlefield which killed many of his comrades. The use of interesting sci-fi ideas such as storing the personalities of fallen GIs on microchips that can be stored on army items adds humour and uniqueness to the story. But it’s the exciting well-staged, nicely shot, and superbly edited action that provides the reason to watch this short. If you want a must-see action fan film, watch this.

DC – New Wings: A Batgirl Fan-Film

After fighting Clayface, Barbara Gordon (Batgirl) is visited by Bruce Wayne. Bruce tells Barbara she must stop being Batgirl. However, both must put their differences aside when a part of Clayface that Barbara brought home comes to life. Can they fix the problem without Barbara’s father, Jim Gordon, finding out?

New Wings is incredibly fun. The dialogue between the characters is hilarious and the cast perfectly fit their roles, with their chemistry making them a joy to watch. Emma Catharine effortlessly captures Barbara Gordon’s youthful eagerness; Anthony Paderewski pulls off a terrific balancing act as a Bruce Wayne that pivots between dark and humorous, and David H. Horne is charming as the oblivious Jim Gordon. Couple that with some wonderful direction, impressive effects work, and perfectly timed editing, and New Wings becomes, to date, the best live-action Batgirl interpretation. 

Image – Spawn: The Recall

After young Michael disappears in a supermarket his mother tries to find him but discovers dark forces at work around her. What do they want with her and her child? 

The Recall is not just a great Spawn adaptation but a moody, horror tale that succeeds thanks to the acting of the central cast. Johanna Genet as the mother really sells her desperation as she searches for her child. Tom Maurice also does a pretty good job as the innocent Michael and Gregory Paris is a terrifying Spawn. Apart from the cast, it is also helped along by its use of dark atmospheric visuals (with mostly well-done CGI helping to realise some creative spooky images) and an eerie score that enhances the film’s tone.

Marvel – Truth in Journalism

Journalist Eddie Brock takes a documentary film crew on a tour of his life but gradually the crew realise that life around Brock is more dangerous than they anticipated. Especially considering the secret he is hiding.

Clearly inspired by Man Bites Dog, Truth in Journalism makes the Marvel universe feel disturbingly grounded through its pseudo-documentary framing. Which combined with the grainy black and white, cinema verité style presentation makes the grim story hit much harder. And Ryan Kwanten’s central performance makes Eddie Brock into an equal parts sleazily watchable and horrifying presence.  

Vertigo – Fabletown

Deputy Mayor of Fabletown Snow White and former sheriff Bigby Wolf must reunite when someone from the real world sees the Beast’s (from Beauty and the Beast) true form. Can Bigby and Snow solve the problem?

Fabletown feels like a quality network TV show. The series’ visuals are very professional. In addition, the narrative is engaging and well-paced. With a fantastic mixture of wit, mystery, action, and heart always keeping viewers invested. But the diverse characters are Fabletown’s biggest strength. All the actors do superb work and the writing gives everyone a nice amount of depth. Above all special mention must go to Emma Van Lare as the commanding Snow White, Holly Day as the sarcastic Cindy, and Jordan O’Neal as the anti-heroic Bigby Wolf. All of whom bring enthusiasm and humanity to their roles. Fabletown deserves to be your next binge-watch.

So ends our list of must-see comic book fan films. Let us know your thoughts and please tell us any comic fan films you would recommend.

Also Read: Holy Fan Films, Batman

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Filmography

Phillips broke into narrative features with 2000’s Road Trip. A sex comedy that made over $119 million dollars at the box office against a $16 million budget. He followed that up with other successes like 2003s gross-out comedy Old School. 2004s movie adaptation of Starsky & Hutch. 2010s buddy road trip film Due Date. 2016s biographical black comedy War Dogs. And The Hangover sequels, which while never earning the acclaim of the original, were still financially successful.

Comparatively, Phillips’ only unsuccessful movie is School of Scoundrels which earned $24 million against a $35 million budget. However inarguably his most successful ventures are The Hangover and Joker.

Success and Acclaim: The Hangover & Joker

The Hangover became the highest-grossing R rated comedy of all time during its release (not adjusted for inflation). While this record was later surpassed The Hangover was also celebrated by audiences and critics (Rated 7.7 on IMDb and 78% on Rotten Tomatoes).

Meanwhile, Joker has become the highest-grossing R rated movie of all time, making over $1 billion worldwide. Despite mixed critical reception (68% on Rotten Tomatoes) Joker still received great acclaim. Winning the Golden Lion at the Venice Film Festival and being nominated for many Best Film and Best Director awards. Audiences also roundly embraced the film (it’s currently rated 8.6 on IMDb and is ranked 46th in the IMDb Top 250).

Both films are examples of popular film trends from their time. The Hangover owes some of its success to the popular raunchy comedies of Judd Apatow. And Joker owes a lot to the domination of comic book movies at the box office.

But both films also have something unique, ambiguity. While The Hangover was a raunchy comedy it also had a grimy presentation. This allowed people to view the film as a condemnation of the activities the characters get involved with. Thus even people unsympathetic to the characters could enjoy laughing at them. Meanwhile, Joker presented its villain as somewhat sympathetic by showcasing how many facets of American culture helped to turn him evil but also presented his actions as shocking. Meaning the film functioned as both a disturbing look inside a killer’s mind but also an exploration of the factors that turned him into one. This ambiguous presentation allows for audiences to engage with these films in different ways. And gives critics a lot to analyze. Which is likely something else that lead to their success.

Todd Phillips’ Risks

Surprisingly Warner Brothers were initially unsupportive of both films. They didn’t want to give The Hangover a $35 million budget, because of its R rating (often not as successful as PG-13 movies) and because the leads were relatively unknown at the time. And even though Joker was a sure-fire hit due to the main characters’ comic popularity, Warner Brothers still attempted to prevent the project being made by giving Phillips a relatively small budget of $55 million.

But this ended up paying off well for Phillips. Because of Warner’s reluctance to finance The Hangover Phillips gave up his directing salary to help make the film and asked for 16% of the films gross. Meaning his pay went from $6.5 million to $75 million. And Phillips took a smaller salary on Joker, again asking for a percentage of the gross. Many publications estimate he will make $100 million from it.

Conclusion

In the end, Todd Phillips knows how to get moviegoers talking and how to make a success of it. By using successful formulas his films have struck a note with audiences. And the well-constructed morally ambiguous presentation of Hangover and Joker managed to appeal to many different audiences and critics alike. And thanks to their success and the risks Phillips took to make his two best films he’s now laughing all the way to the bank. What a Joker.   

Also Read: The Unique Style of Wes Anderson

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These films were picked based on their creativity, the impact of the action and how well the story complimented the action. And because there were so man good action films this decade I will be including honourable mentions for you to also watch. Without further ado, let’s begin.

2010: Inception (dir. Christopher Nolan)

With an interesting story about implanting ideas into someone’s mind while having to battle through not only the subject’s mental defences but your own baggage as well as incredibly staged action sequences like the rotating hallway fight and using minimal CGI, Inception is a true sci-fi action masterpiece.

HM: Kick-Ass & 13 Assassins.

2011: The Raid (dir. Gareth Evans)

After a swat team is ambushed in an apartment complex the survivors must reach and arrest the kingpin before his henchmen kill them. From this simple premise, The Raid quickly ratchets up the tension as we are never sure who will escape alive. And the action sequences use of flowing choreography, camerawork and editing turn the film into a remarkable ballet of violence.

HM: Captain America: The First Avenger & X-men: First Class.

2012: Dredd (dir. Peter Travis)

Similar to The Raid, Dredd finds two judges (police officers who are judge, jury, and executioner) Dredd (Karl Urban) and Anderson (Olivia Thirlby), trapped in a skyscraper, having to fight their way to the kingpin to escape. However, Dredd keeps The Raid’s tension while also injecting a healthy dose of comic book action. With bloody violence, great world-building, beautiful slow-motion usage and endearing characters, Dredd, packs a punch despite its small stature.

HM: The Avengers, The Dark Knight Rises & Skyfall.

2013: Snowpiercer (dir. Bong Joon-Ho)

While the premise is far-fetched (the remnants of humanity are trapped on a perpetually running world-spanning train after a climate crisis), Snowpiercer’s story about humanity in microcosm and fight scenes are very affecting. The skirmishes are protracted and merciless, combined with the claustrophobic setting and masterful editing, Snowpiercer will keep you riveted till the end.  

HM: The Worlds End & Elysium.

2014: The Raid 2 (dir. Gareth Evans)

After surviving the first film, Rama (Iko Uwais) must infiltrate the mob and bring them down from inside. From there this sequel improves on everything great about the original. With more impressive choreography, more brutal violence; even more memorable characters, all wrapped around a fantastic story of family and loyalty. The Raid 2 is my favourite action film of the decade.

HM: Captain America: The Winter Soldier & Guardians of the Galaxy.

2015: Mad Max: Fury Road (dir. George Miller)

Mad Max: Fury Road puts all other 2015 action movies to shame, with an effectively slight story about Max Rockatansky (Tom Hardy) helping a band of women escape an oppressive patriarch; spectacular vehicle stunts. By the movie’s end, you’ll feel exhausted by the relentless action. Impressed by the practical stunts and special effects. And moved by characters like Furiosa (Charlize Theron) and Nux (Nicholas Hoult). High octane action at its finest.

HM: Furious 7, Avengers: Age of Ultron & Sicario.

2016: Captain America: Civil War (dir. Joe Russo)

Civil War is the highlight of the MCU. The story grounds the conflict in each heroes’ hopes and fears, examining them and playing them against each other expertly. Every character is relatable, making the fights more impactful. And each action sequence is creative. From the opening robbery to the final 2 on 1. Marvel has made many good films, but none topped the impact of Civil War.

HM: Deadpool.

2017: Dunkirk (dir. Christopher Nolan)

Depicting the titular WWII evacuation from three perspectives: the soldiers trapped at Dunkirk waiting for rescue, the civilians coming to evacuate the soldiers and the airmen covering them from above, Dunkirk’s tension becomes almost unbearable as we hope the soldiers escape in time. The use of practical effects, incredible sound editing, and Hans Zimmer’s tense score make the film effective and harrowing.

HM: Baby Driver.

2018: Spiderman: Into the Spiderverse (dir. Peter Ramsey, Bob Persichetti, Rodney Rothman)

The perfect balance of spectacle, personality, and high personal stakes. Into the Spiderverse is an expertly crafted love letter to comic books. With beautiful visuals that are used inventively in action sequences, all anchored by protagonist Miles Morales. Who allows us to feel his wonder, excitement, and fear better than any other spiderman.

HM: Avengers: Infinity War.

2019: John Wick Chapter 3: Parabellum (dir. Chad Stahelski)

Parabellum marks the culmination of everything great about John Wick. The story is full of unique, intriguing characters, John Wick (Keanu Reeves) is still thoroughly engaging and the grounded, varied, constant action easily beats the overblown spectacle of other films this year.

HM: Avengers: Endgame.

So ends my list of the 2010’s best action movies. Be sure to tell me your favourite action movie of the decade in the comments. There have been some great action films this decade, now let’s see what the 2020s have in store.

Also Read: How to Revive a Franchise After Many Years

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Comic book characters have been a staple of big Hollywood films for nearly twenty years now. But recently we have seen a growth in obscure and niche (by mainstream standards) comic book properties being used as inspirations for big box office hits. Guardians of the Galaxy, Aquaman and Captain Marvel have all scored big, using obscurer comic figures that many fans never thought would get their time to shine.

And now DC is trying their luck again, with the live-action feature debut of Shazam. But can the hero who was once considered more popular than Superman hit a home run with his first film outing?

The story

The wizard, Shazam (Djimon Hounsou) is growing old and is searching for an heir to his powers, to protect the world from the seven avatars of sin. After searching for years, he finally chooses young orphan Billy Batson (Asher Angel). Billy is then granted the ability to turn from a teenager into a superpowered adult (Zachary Levi) by saying the word, “Shazam”. But Billy has no interest in being a hero.

Having been abandoned by his mother as a child, Billy has spent most of his life moving from foster home to foster home while looking for her. So naturally, he has a cynical streak that makes him ill-suited for his powers. But when Thaddeus Sivana (Mark Strong) a man rejected by the wizard years before, comes to claim Billy’s powers, Billy must prove he is worthy of them by fighting to protect the innocent and his foster family from Thaddeus’ wrath.

What did I like?

After several years of DC movies being unduly grim and gritty, it’s nice to see them becoming more fun. Although Shazam has dark moments, they feel appropriate. Because the story is about a troubled teenager coming to grips with the world around him. Ultimately though this movie is about family and childish power fantasy, and the script achieves that with gusto.

The empowerment side of the story works well. Billy, of course, begins using his powers to do childish things. Which is very entertaining. But slowly he realises that he must grow up and become responsible or he will become like Thaddeus. Turning the film into a coming of age tale where Billy learns that strength comes from those around you. Time is also dedicated to giving visibility to a spectrum of genders, sexualities and abilities. Before paying them off in an empowering way that many will find satisfying. Coupled with this the movie is incredibly funny, with Pop culture references and over the top childish wackiness ensuring a laugh from most audiences. Some may find the family side of the story clichéd, but it does add another level of emotional investment to the story.

I also really enjoyed the performances. Zachary Levi is of course the standout. Playing a child in an adult’s body can easily become creepy or aggravating. But when watching Levi his energy, enthusiasm, and sincerity capture your attention. He is a joy to watch as he channels his inner child and he easily carries the entire movie. Mark Strong also does good work as Thaddeus. Some may see Thaddeus as just another generic villain but the occasional moment where Strong lets the mask slip revealing something more childlike underneath really does work as a good foil for Levi. And many of the supporting cast also get their time to shine. Special mention goes to Cooper Andrews as Billy’s warm foster father. And Jack Grazer as Freddy whose comedic timing never fails to get a laugh.

What did I not like?

But while I like most of what the film is doing, it’s sometimes a rough ride getting there. On the technical side, the CG used to create the avatars of sin and the action scenes never looks convincing or original. It’s all designs and feats we’ve seen done elsewhere. Thankfully the film does not rely too much on these but when it does it becomes too unreal and generic to engage. Which does become a problem in the third act.

As well as this, the films occasional overreliance on humour undermines the attempt at eliciting emotion from the family storyline. With pathos sacrificed for a joke. And when so much of the film relies on humour there is the risk of alienating the audience if they are not engaged by the jokes. Which did happen a few times with the audience I saw the film with.

Lastly, the film does occasionally slip into the same pitfalls as many other DCEU movies. Some of the acting feels forced and unnatural, particularly Thaddeus’ family and the bully characters. There are also segments that could have been tweaked to make a better impression on the audience. For example, the fight between Billy and the bullies, which doesn’t happen simply because they are hurting Freddy, but because they insult him not having parents which Billy takes personally which makes him seem more selfish than he needs to be. And of course, DC can still think of no other way to end a film than by having a big fight with indiscriminate CGI bad guys. Which is especially disappointing here because the character focused conflict between Billy and Thaddeus is way more interesting than the generic avatars of sin.  

Verdict  

Shazam! is a mixed bag. It is brought down by unconvincing CG villains as well as an occasional overreliance on humour to the detriment of other parts of the narrative. The lack of attention to minor details in the story and occasionally bad acting also drags the film down. But it still feels like a breath of fresh air among modern superhero movies. It is an almost perfect example of what the genre is meant to be, wish fulfilment for little kids. Buoyed by fun performances, a fantastic sense of humour and a script that nicely treads the line between sincere and goofy.

It is impossible not to have a good time with Shazam!. It isn’t a genre redefining masterpiece nor is it an exceptional film, but it’s a damn good version of what it’s trying to be.

Verdict: (3 / 5)

Shazam! is in UK cinema on from Friday 5th April.

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Most of these characters are going to be based on comic books and I want to say right now – many of these characters are brilliant in comic books but it’s just that not every comic book character will work well in a film.

Green Lantern

One of the biggest comic book superheroes is Green Lantern, seriously, he is a big deal yet the film was a critical and commercial failure. There were many reasons for this but we’re talking about superpowers. In brief, Green Lantern can create physical manifestation of anything he can imagine.

On the surface that’s a remarkable superpower with unlimited potential but really was just a CGI mess – the ability to create anything? It’s just too much, too powerful, for powers to be interesting they have to have limits. One of the brilliant things about Logan was that it showed Wolverine wasn’t always going to come back from anything, his healing powers did have their limits. And it didn’t really explore the fantastical or just plain weird places it could go with such a power. As is demonstrated in scenes of Green Lantern when fights break out is this power really more useful than a gun?

The Superfluous X-Men

Part of the problem is once you’ve got more than a few characters, coming up with interesting powers becomes difficult. There are dozens of mutants in the X-Men films and it has it’s fair share of duds. There is Banshee who can scream in a weird way and also can use this to fly somehow. There’s Angel who has incredibly flimsy-looking insect style wings. There’s Quill who can make short spikes stick out of his body. I could go on.

Their powers don’t make a great deal of sense; they’re not useful, they’re not plausible and they certainly aren’t cinematic. I could watch Michael Fassbender using his powers for hours – simple to explain, looks good on film and it’s merits are obvious. That’s a superpower you want in a film. To be a mutant with a bad power feels like the cruellest blow of all – yes mutants are a maligned group in society who live in fear but at least Cyclops can shoot lasers out of his eyes.

Money, money, money

Not all superheroes have superpowers and not only is this not a problem it can make the superhero more interesting. There is a classic get out though – money. A fairly common device is the rich superhero (or indeed supervillain), the two most famous being Batman and Ironman. Apparently, there is nothing that can’t be done with enough money – you want to be stronger, faster, tougher? Buy it and don’t let aerodynamics, ballistics, kinetics or any other killjoy science tell you it doesn’t exist or isn’t possible.

Obviously, you can achieve a lot with money but surely there are limits and finding a superhero who doesn’t have superpowers or money is hard. Kick-Ass is one of the few examples I can think of and Kick-Ass himself is hardly a successful superhero so it seems if you have no powers you better have some money.

The Man of Too Many Powers

So we come to the apex of ridiculous powers, a character that exceeds virtually all others in their powers making no sense whatsoever and ruining the plot of almost any story they become involved in. I am, of course, talking about Superman.

Superman’s powers are amazing and spectacular and therein lies the problem. Every day Superman fights crime and saves people…well, it’s hardly a challenge for him, is it? Superstrength, flight, x-ray vision, super-speed and there’s more…it must be so boring. When Batman fights a mugger with a gun he might die, with Superman it’s not even really a fight. Superman’s arch-nemesis Lex Luthor is a billionaire genius and is the underdog in that fight.

Graphic novel and film classic Watchmen explored the ridiculousness of Superman further with Dr Manhattan standing in for the Man of Steel. The idea being that someone with so much power would inevitably become distant from the normal people around him and perhaps even stop caring. Dr Manhattan even manages to surpass Superman in powers – he can teleport, make multiple versions of himself, become gigantically big, survive on Mars, see the future and just for fun can literally explode people just by thinking about it. Oh and is essentially indestructible with no convenient kryptonite weakness. The clever twist in Watchmen is that the villain doesn’t attack him physically but psychologically, manipulating him into doing what he wants. Of course, Dr. Manhattan is meant to be ridiculously powerful, Superman just kept acquiring more powers in the comics to try and keep it interesting.

The best Superman film, in my opinion, is Superman II and why is that? It has villains who can stand up to the hero. The vast collection of powers they possess make for excellent fight scenes and that’s Superman’s saving grace – they look amazing. The much maligned Superman Returns has an amazing scene of Superman saving a plane and it is a stunning scene. Just watching Christopher Reeve, Brandon Ruth and Henry Cavill use their powers is worth the cinema ticket.

There are still decades of comic book heroes to go through yet but even so you can’t help but feel the well is running pretty dry on interesting superpowers. Captain Marvel is the next big one to be brought to the silver screen and we’ll have to see how her powers are handled. From the sounds of it she’s going to be another pretty powerful superhero, perhaps the most powerful in Marvel have yet brought to film, so will she be silly or spectacular?

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Combining the reliability of the Marvel brand with the super anti-heroics of films like Deadpool and Suicide Squad and the box office draw of Tom Hardy. Will this version of Venom be a success or will we all be left pining for the days of Spiderman 3? Let’s look.

The Story

Eddie Brock (Tom Hardy) is a reporter with a conscience, always wanting to find the truth. He has a fiancé, Anne (Michelle Williams), a weekly TV show and even a cute cat. But when he asks the head of the life corporation, Carlton Drake (Riz Ahmed), the wrong questions he loses everything. A few months later, a scientist from the life corporation comes to him to help expose what Carlton Drake has been doing. But when Eddie enters Drake’s facility, he finds that Drake has been using people as hosts for alien symbiotes, brought back from a life corporation space mission. During the ensuing scuffle, Eddie ends up as host to one of the symbiotes. The symbiote, known as Venom, then uses his body to escape and fight off anyone who opposes him.

What did I like?

Venom has received a lot of bad press but not all of it is deserved. For one thing, many of the actors do a fine job. Tom Hardy holds himself well with what the script asks of him, and his accent is not as off-putting as some people feared it would be. And as Venom he manages to steal the show from under himself as he gives the frightening goliath a good sense of dark comedic timing combined with surprisingly good self-chemistry. Riz Ahmed also continues to impress. His character is not afforded any depth, but he plays his role to the hilt and infuses a lot of gravitas into his scenes.

The action scenes and the effects are also quite well done. The symbiotes natural forms are very gooey and suitably gross and when Venom reveals himself, he is just as imposing and intimidating as fans of the comics would want him to be. The action scenes are also suitably energetic. The motorcycle chase in the middle of the film and the final showdown has some imaginative touches regarding what the symbiotes can do.

And the film works ok as a standalone. Despite the connection to Spiderman being a big part of the character’s history, the screenwriters have fashioned a plot that makes Venom a separate entity from his comic origins. While still showcasing Venom’s trademarks including body morphing, weakness to sounds and his emotional connection to his host. Unfortunately, the negatives of the film outweigh everything else.

What needed improvement?

Hardy said 30-40 minutes of material were cut and it really feels like it. The film’s editing is awful. Some scenes lack any clear payoff. For example, when Eddie is on an island surrounded by guards, hiding up a tree, we transition to a new scene, with no indication of what happened. The film’s pacing also suffers because of the editing. Several scenes race by barely elaborated on, the spaceship opening, and the final villain reveal highlight this offence. Then the brakes are applied for lengthy character discussions and comedic scenes. Which could be forgiven, but many of the characters have no personality.

The actors do their best, but the script gives them nothing to work with. Every character is a blank archetype. Eddie Brock is a boring cardboard cut-out who drones on about doing the right thing but never grows as a person. Aside from learning to be ok with eating people, which he takes to surprisingly quickly. Carlton Drake is a cartoon villain, but the worst offender is Michelle William’s character. Whose only function in the plot is to serve Eddie’s story. A lack of romantic chemistry between the two leads also hurts the proceedings. Even Venom, as fun as he is, has little to no motivation for the things he does. This is not helped by dialogue that comes free with any version of Microsoft Word.

There are other points of annoyance too. The music is flavourless and forgettable. The lack of blood is disappointing for a 15 rated character-driven comic book film. Especially in the wake of Logan. And a lot of the comedy is too broad to make an impact.

The Big Problem

What ultimately condemns Venom is that it does not know what it wants to be. Is it a violent comic book anti-hero movie like Deadpool or Suicide Squad? No. Those movies had characters with big personalities and facets that made you feel for them despite their questionable actions. Venom is boring, glum and populated with stereotypes. Is it trying to be a faithful adaptation of the comic? Potentially. But Spiderman’s absence and the watered down violence will not please hardcore comic fans and the lack of explanation for his powers in this universe and the general ineptitude of the rest of the film will alienate non-fans. Is it just trying to entertain? Maybe. But in an age, where comic book movies have showcased more imaginative and complex stories and have become more than just entertaining distractions, the viewing public deserves better.

Bottom Line

Venom is a great disappointment that wastes its talented stars and potential for an interesting, violent, character-driven storyline. The script is rampant with clichés, stock characters and boring dialogue. Which is not helped by the final product having been edited with a meat cleaver and a lack of understanding about its target audience. If you want a well-acted popcorn film then there are much better films out there.

Verdict: (1 / 5)

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