Matthew Vaughn shoots for the moon in ‘Argylle,’ one of the oddest, dumbest, absurdly entertaining yet predictable movies of the year—so far, I guess.
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henry cavill
The Rock cosplays Black Adam and crashes the DC universe in one of the most emotionally uninteresting and generic superhero movies ever produced.
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‘Zack Snyder’s Justice League’ is the better version of a bad movie, filled with long, drawn-out scenes that fail to advance plot nor develop character.
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Even with reshoots, an extra 2 hours, and a mulligan budget rumored to be in the $80 million dollar range, this film is undeniably, irredeemably awful.
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Instead of doing a rundown of the flaws of this superhero movie Simon would rather transcribe a story, to the best of his ability, as he is sure it all happened.
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All of the uber-muscled, color-drained visual and aural bombast in the world can’t hide the ugly truth about Batman v Superman: Dawn of Justice. It’s dumb as bricks.
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One good thing about Batman V. Superman: Dawn of Justice? I’m pretty sure a hell of a drinking game can be made around it. Every time Batman crashes into something: take a drink. Every time Lex Luthor monologues about God: take a drink. Every time Lois Lane gets trapped or captured: take a drink.
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Henry Cavill and Armie Hammer trade in the same kind of faux-clever one-upsmanship that Holmes and Watson do in ‘Sherlock Holmes,’ with similarly weak dialogue but barely a quarter of the charm.
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Man of Steel is like The Dark Knight trilogy drained of all its moral complexity and vibrant storytelling. What’s left is an oppressive movie filled with a blaring seriousness, inconsistent production design, mundane conflict, heavy exposition and a huge amount of super-destructive action that leads to nothing.
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After a week off, Trevan, Eric and Trey are back with three movies for your listening pleasure.
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Zach Snyder’s take on the most iconic hero in history is a bit of a mixed bag.
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‘Superman Returns’ has way more going for it than a simple action movie. By emphasizing Superman’s virtual omnipotence and also his sense of eternal heartbreak and loss, Bryan Singer’s epic and lyrical sequel-of-sorts to 1980’s Superman II has some of the same poignancy of a classic Greek tragedy.
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