BEAUTY AND THE BEAST: A DANCE OF THE ARCHETYPES

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It’s the fairy tale everyone hears in childhood – the most romanticized case of Stockholm syndrome in this world.

 

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Once upon a time, a dashing Prince (Dan Stevens) partied nonstop in his castle until a beggar tried to seek refuge there. He drives her away, unaware she’s an enchantress (Hattie Morahan) testing him.

 

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She transforms him into a Beast. His household became inanimate items – a candelabra, mantel clock, coat hanger, wardrobe, harpsichord, feather duster, teapot and cup.

 

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To reverse the spell, he must love a woman and vice versa before the last petal of an enchanted rose falls. Otherwise, he retains his hideous form forever.

 

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In nearby Villeneuve, doll-like Belle (Emma Watson) dreams of adventure and romance beyond the French village where she lives with her father, Maurice (Kevin Kline), a reclusive artist, and traipses into the hills ala Sound of Music.

 

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When Maurice sets off to market, wolves attacked him. He flees to the woods, gets lost, stumbles upon the Beast’s castle and takes a rose. Enraged at the theft, the Beast takes him prisoner.

 

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Belle searches for Maurice and confronts the Beast. She trades places with her father and eventually redeems her captor’s suffering. Love won. Good triumphed over evil. All’s well that ends well.

 

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But does it?

 

Well, it’s a fairy tale – and the film rendition of the story was great entertainment, indeed. Yet the characters are archetypes. Beauty and the Beast are a couple among the countless who live inside each of us.

 

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A Beast exists in every Beauty, alongside the Kind Daughter, the Fussy Mom, the Bewildered Orphan, the Willful Maid, the Outcast Country Girl, the Book-Loving Student, the Passionate Dreamer and well, the Hapless Prey and the Willing Victim.

 

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Just as well, a Beauty inhabits every Beast, co-existing with the Noble Protector, the Sorrowing Son, the Spoiled Prince, the Desperate Accursed, the Grouchy Master, the Angry Prison Warden and the Voracious Predator.

 

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It’s ok for as long as the archetypes “behave”.

 

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Beauty’s Compassionate Redeemer interacts with the Beast’s Lonely Hero who’s in need of salvation. Or her Eager Student appeals to her Inspired Mentor – who bequeathed her the Prince’s entire library. Or the Sorrowing Son finds common ground with her Lost Orphan in Paris as they discover that Belle’s mom died in the plague.

 

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But what if Beauty’s own, personal Beast locks fangs with the Beast’s Sadistic Predator? What happens then?

 

What disturbs me is that too many believe in the fairy tale and pay for it dearly.

 

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Each time a woman falls for a Bad Guy, it’s Beauty and the Beast all over again.

 

Nothing like Bad Guys to feed female redeemer instincts – which explains why the most notorious criminals on Death Row get love letters and marriage proposals from women who should know better.

 

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The Belle in her hopes that his ugliness hides an inner Beauty that her love can magically transform to a Prince – handsome, tender, devoted and rich beyond measure.

 

I guess it’s also one reason why it’s so difficult to get out of abusive relationships. The Belle in every besotted woman never loses hope that her Beast may yet turn into a Benevolent Prince – until he cuts her throat or blasts her with a shotgun.

 

Sad that in reality, most Beasts don’t transform into royal consorts and waltz away with their mates happily ever after.

 

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Kong: Skull Island – Hairier Version of Beauty & the Beast

 

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For the past 84 years, a colossal ape has rampaged in the psyche of moviegoers.

 

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The 1933 classic “King Kong” played to sold-out crowds at the height of the Great Depression and broke records through decades of re-releases and television airings.

 

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Needless to say, this original effects-driven blockbuster and monster movie milestone has been remade, parodied and spun-off on every sized screen.

 

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And Kong has become embedded in pop culture, the stuff of video games, hip hop lyrics, college dissertations, reproduced over and over in armies of action figures, models, toys, games, you name it.

 

But his 2017 version – the helicopter-smashing, giant lizard-wrangling, adolescent Kong, of Skull Island, is the biggest in Hollywood history—all 100-feet of him.

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Here, he is a most terrifying alpha predator and yet, a lonely god and a fierce protector of his domain and its people.

 

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“I’m sure you won’t find a gigantic ape-like creature punching a Huey helicopter in another movie,” says director Jordan Vogt-Roberts. “But that’s the movie I wanted to see. I want to take people out of their comfort zone and thrust them into a balls-to-the-wall adventure that’s visceral, intense and like nothing they’ve ever seen before.”

 

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However, “A lot of things define Kong—his size, his power, his animal nature, but also his heart and huge depth of soul,” observes producer Mary Parent.

 

“He keys into our natural affinity for other primates, and his gestures and expressions are much more humanlike than even natural primates—which is what has always set Kong apart from other monsters.  Even though he’s a terrifying predator, it’s impossible not to root for him.  In some ways, he’s been more like the classic romantic hero than a villain.”

 

“Kong embodies the internal clash between our civilized selves and the place in our consciousness that still has a very real sense of something bigger than ourselves,” maintained Tom Hiddleston who played a former SAS black ops officer turned tracker, Captain James Conrad.

 

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Now, this film opens in 1973, when times are changing, wars are being lost, and old beliefs are going down in a burst of gunfire, napalm and rock n’ roll.  Mankind has claimed and tamed every inch of the known world, and NASA has launched a lone satellite into space to hunt down whatever’s left of the “Great Unknown”

 

Moving the story from the 1930s to a more modern, but not modern-day, setting folded into the themes the filmmakers wanted to depict – “a world before the tyranny of global satellites, near total surveillance and information overload”, in the words of Tom.

 

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“We didn’t have the illusion—as we do today, with the internet and cell phones and GPS—that we knew everything about the world we live in.  The period setting also gave us an extraordinary prism to explore what Kong might represent in a conversation about war and the tendency of mankind to destroy what he doesn’t understand.”

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HACKSAW RIDGE: WAR HERO WHO NEVER FIRED A BULLET

 

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Going unarmed into World War 2’s bloodiest Pacific battle, dodging fire from kamikaze bombers, heavy mortar, artillery and machine guns to save 75 wounded soldiers single-handed is the stuff of miracles and legends.

 

Desmond Doss, true-to-life hero of Hacksaw Ridge (played by Andrew Garfield) was a devout Seventh Day Adventist, born in Lynchburg, Virginia, the son of a carpenter. He was 23 when he enlisted in the U.S. Army in 1942.  Skinny, vegetarian and unwilling to train on Saturdays – his Sabbath – let alone carry a gun, he was a “conscientious objector” who served as a “non-combatant” medic.

 

“The Japanese were out to get the medics,” the real-life Desmond recounted. “They would let anybody get by just to pick us off to break down the morale of the men, because if the medic was gone they had no one to take care of them. All the medics were armed, except me.”

 

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Before, Desmond’s fellow soldiers ridiculed and abused him, believing he’s a dangerous liability. They tried hard to drive him out of the army.

 

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That was until they discovered that he can heal the blisters on their march-weary feet. And if someone fainted from heat stroke, he’d aid the afflicted man and offer water from his own canteen.

 

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Desmond never held a grudge. With kindness and gentle courtesy, he treated those who had mistreated him.

 

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He first went overseas with the 307th Infantry, 77th Infantry Division in 1944, serving as a combat medic.

 

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In Guam, he charged through knee-deep mud in driving rain to retrieve wounded men on the battlefield and earned his first Bronze Star.

 

The second Bronze Star, he earned in the same year in the Philippines, where he ran through wide-open brush in Leyte to save two critically-injured soldiers caught in the crossfire of Japanese machine guns.

 

“I knew these men. They were my buddies, some had wives and children. If they were hurt, I wanted to be there to take care of them,” he recounted. “And when someone got hit, the others would close in around me while I treated him, then we’d all go out together.”

 

In the spring of 1945, Desmond took part in the decisive Battle of Okinawa, the “Typhoon of Steel”, which lasted 82 days and killed over 100,000 men on both sides.

 

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On a Saturday, May 5, his Sabbath – Desmond and his unit scaled the Maeda Escarpment, aka Hacksaw Ridge – a steep 400-foot-high cliff fortified with machine-gun nests, booby traps, concrete pillboxes and desperate Japanese soldiers entrenched in caves.

 

After the Americans secured the cliff top, the Japanese staged a vicious counter attack which nearly wiped them out – 500 of the 800 men in 1st Battalion were killed or wounded in action. Less than one third of the men made it back down.

 

Desmond’s unit retreated but he stayed.

 

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Under heavy fire, unarmed in the middle of the kill zone, Desmond retrieved his stranded injured comrades one by one and lowered them off the cliff face with a rope-supported litter he devised using knots he had learned as a child, rescuing flood victims, and anchored on a tree stump. He saved at least 75 men.

 

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Over two weeks later, during a night raid, Desmond was hiding in a shell hole with two riflemen when a Japanese grenade landed at his feet. He kicked the explosive but it blew up, embedding 17 shrapnels in his leg.

 

He treated his own wounds and waited for five hours to be evacuated. When two of his comrades reached him, he saw a more critically injured man nearby, crawled off his litter and insisted that the other man  be rescued first.

 

While waiting for the litter bearers to return, a sniper’s bullet shattered his arm. He fashioned a splint out of a rifle stock and crawled 300 yards to the aid station.

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Half a century later, in a cinematic landscape overrun with fictional “superheroes,” director Mel Gibson thought it was time to celebrate the life of Desmond Doss, the first conscientious objector to receive the U.S. Medal of Honor.

 

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“I was astounded by the extent of his sacrifice. Here was a man who repeatedly risked his own life to save the lives of his brothers. Desmond was a completely ordinary man who did extraordinary things. It was a privilege and an honor to tell this story.”

 

Sadly, Desmond did not live to see his life re-enacted on the big screen. He died in 2006, aged 87.

 

While he lived, he didn’t trust Hollywood with his tale.

 

“I grew up in a house with an endless stream of people coming through the door wanting to make a movie, write a book,” revealed his only child, Desmond Jr.

 

His father turned them all down, insisting that the “real heroes” were the ones under the ground.

 

Still “I find it remarkable, the level of accuracy in adhering to the principal of the story in this movie,” the son commented.

 

The film wasn’t 100 per cent accurate though.

 

It didn’t mention Desmond’s sister, Audrey, or the fact that he remarried after the love of his life, Dorothea “Dorothy” Schutte (played by Teresa Palmer) succumbed in a car crash.

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In fact, Dorothy was not a nurse when Desmond ran into her. They first met in church in Lynchburg, Virginia. She didn’t get her nursing degree until the war was over, when she needed to provide for her family because Desmond was disabled from his war injuries and can’t hold a full-time job.

 

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The movie changed the time line of their marriage too. He didn’t miss their wedding day because he was denied a pass and then put in a holding cell. Truth is, they tied the knot before he went on active duty.

 

Although fellow soldiers picked on Desmond, the movie’s antagonist, Smitty (Luke Bracey), is a fictional character, a composite of his tormentors.

 

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And there’s no record of Desmond ever getting pulled out of bed and beaten in the night.

 

In the film, Desmond treated an enemy soldier inside the cave and lowered two wounded Japanese from the cliff face. That could be partly true. Some of his own comrades did find an American bandage on an enemy soldier.

 

Desmond himself recalled an instance where he tried to help a wounded Japanese. “The fellas pulled a gun on me. They used some strong language. ‘If you use that stuff on blankety-blank, we’ll kill you!’ And I knew they meant it. So I knew better than to try to take care of a Japanese.”

 

Furthermore, in the film, he immediately got back the Bible that Dorothy gave him before he was stretchered out of the battlefield.

 

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The Bible fell out of his pocket when he was blown off his feet by a grenade. “It  was my main source of strength all during the war and in the service,” Desmond said later, “and then when I lost it, I was lost.”

 

In reality, he got it back much later.

 

When his fellow soldiers learned it was missing, they scoured the ridge after they captured it from the Japanese. When his commanding officer came to the hospital to inform Desmond he was being awarded the Medal of Honor, he handed back the waterlogged, semi-charred pocket Bible.

 

Producer Bill Mechanic defended the film’s revisions on reality. “If you’re a slave to the complete facts, than you’re not making a movie that is compelling,” he argued.

 

Overall, the film’s realism is visceral – gory even – blown away legs, fountaining blood, rats gnawing in the body cavities of corpses.

 

But war is like that.

 

As the actual soldiers who fought in the Hacksaw Ridge described it, the Japanese swarmed everywhere, in caves, tunnels, holes and pillboxes. The Americans stacked the bodies of their fallen comrades as high as they could reach and waded through 200 yards of mud puddles saturated with blood. The machine gun fire was so thick, men are cut in half as they get hit.

 

Indeed, screenwriter Robert  Schenkkan carved secondary characters from amalgams of real people and streamlined events from Desmond’s early life to make for a fast-paced movie.

 

But he stuck as close to the factual record as much as possible when it came to Desmond’s incredible feats on Hacksaw Ridge.

 

Of the 16 million men in uniform during World War II, only 431 received the Congressional Medal of Honor – and one of them was pinned on Desmond, who never carried a gun and never killed a single enemy soldier in combat.

 

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Strangely, for me, one of the film’s most moving moments came at the end – the clip of the real Desmond Doss as an old man, recounting what he did on Hacksaw Ridge. “I just kept prayin’,  Lord, please help me get more and more, one more, until there was none left, and I’m the last one down.”

 

Modest as he was, Desmond estimated he saved 50 men. His commanding officer credited him with saving 100. So, they compromised at 75.

 

And Desmond really should have died on that ridge. But his God never left him.

 

He spent 12 hours on the escarpment, rescuing injured soldiers, averaging one man every ten minutes. All that time, the Japanese had a clear shot of him as he lowered each down the cliff face.

 

What the movie never mentioned was that one Japanese soldier recalled having Desmond in his sights. But every time he fired, his gun jammed.

 

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The real Desmond Doss receiving the Medal of Honor.

 

All Aboard Moana’s Boat

 

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“Moana”, a Polynesian goddess of the “deep sea” has now has joined the long line of Disney heroines in the filmmakers’ first delving into the myths of the Pacific.

 

The difference was, Disney made Moana a 16-year old mortal, descended from voyagers forbidden to venture out of her island. Heeding her heart, she sets out on an epic quest to find Maui, the trickster demi-god of the wind and the sea, else darkness devour her home and her people.

 

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Hers was no cloyingly sweet love story with the hero, no erotic fireworks – quite a refreshing relief –  but a search for her Self.

 

Along the way, she finds in him a mentor and ally – though not before he steals her boat, tosses her out of it and tries to abandon her in the high sea.

 

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However, she’s no dainty bloom that wilts under the harsh tropical sun. She’s a feisty princess who can patch a roof, dance, march inside a creepy cave and drum, sail beyond the forbidden reef, repartee with a burly demigod.

 

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“I am Moana of Motonui. You will board my boat,” she declared when they first met. And he did, in the end, in a flurry of action, adventure, fun and drama.

 

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As for me, I have to admit I boarded her boat because Maui intrigued me.

 

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I got acquainted with this hero and his magical fishhook in my first visit to New Zealand. Maui is a hero not just among the peoples of Oceania but among the Maoris.

 

That magical fishhook that allows him to shapeshift into all sorts of animals, from hawk, shark, lizard, fish, pig and bug as well as pull up islands from the sea, is a favorite Maori motif.

 

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Needless to say, Maui is a beloved hero. He did so much for humans. He lassoed the sun to give us longer days and harnessed the breeze for our benefit. He even tried to conquer death.

 

But as always, the road to hell is paved with good intentions.

 

This trickster-helper stole the heart of Te Fiti, the Mother Island – the Pacific version of Gaia, Roman mother goddess Ceres and the Greek Hera.

 

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He thought her heart will give him power over life itself. He never imagined it would turn the benevolent goddess to the demon of earth and fire – Te Ka.

 

Of course, there’s no Te Fiti in Polynesian legend. What they have is a Fire goddess, Pele, who created the Hawaiian islands.

 

There’s no Moana who got entangled with Maui either. But who cares?

 

Moana was a charming, ballsy character, standing up to a sometimes infuriating, super-macho shapeshifter.

 

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And of course, Disney revised Maui’s parentage, making him an orphan and changed his looks as well, depicting him as an oversized, long-haired, tattooed, wrestler type.

 

On the other hand, legends often describe Maui as the son of a god and a mortal woman – with a handful of brothers to boot.

 

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Too bad, Disney saw it fit not to show how Maui died.

 

Legend says that in his quest to make humans immortal, Maui literally crept inside the body of a sleeping Hine-nui-te-po, the goddess of night and death. As he attempted to return to the living world, Hine woke up, biting Maui in half with her sharp, obsidian teeth.

 

By contrast, “Moana” ended happily, with the demi-god and the human sidekick both finding their true selves.

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At the last moment, Moana realized she has to face the greatest darkness to find the light – and salvation.

 

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So, she confronts the lava monster, Te Ka, woman to woman. They touch foreheads and noses, breathing in each other’s life force and co-mingling each other’s essence in the  traditional Polynesian and Maori  greeting, the “hongi”.

 

Instantly, Te Ka transforms back to Te Fiti, the fertile, green mother goddess of the earth as her heart is restored and the darkness ends.

 

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She even heals naughty Maui’s damaged hook and returns it to him.

 

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A MAGICAL BESTIARY AND ITS STORY (MY TAKE ON “FANTASTIC BEASTS & WHERE TO FIND THEM”)

 

 

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Honestly? I wished I swapped suitcases with Newt Scamander.

 

The things I can do with his magical bestiary!

 

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Of course, I’ll need wand work for my charges.

 

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Imagine chasing after a Niffler – that cuddly platypus-like kleptomaniac who stashes shiny things in its bottomless belly pouch.

 

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But even if I get arrested in a bank vault with such a pet, I can escape like Houdini with Pickett the Bowtruckle in my breast pocket.

 

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This twig-like creature, usually found guarding wand-wood trees, show superb lock-picking skills.

 

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Still, it will be foolish to snare an Erumpent in heat – a giant rhino with a red-hot horn that makes anything it pierces explode.

 

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I won’t mind milking a Swooping Evil though. This butterfly-winged reptile hurls himself like a yo-yo and sucks out brains but his venom, properly diluted, wipes out bad memories.

 

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And I’d bond with Frank, the Thunderbird – a cross between a mammoth eagle and a four-winged cherub with the tail of a bird of paradise who creates storms when he flaps.

 

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I can also use the fur of the Demiguise to weave an invisibility cloak. This doleful-eyed, silver-haired orangutan look-alike becomes invisible at will.

 

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And because I travel a lot, an Occamy, a beaked cross between a bird and a serpent, will be a convenient, ultra-portable pet because he’s “choranaptyxic”. He can grow or shrink to fit available space.

 

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If I want to fend off curses and jinxes, I’ll take a Murtlap, that bald, rat-like creature with an anemone like spiny growth on its back.

 

Newt kept so many exotics – the sapphire-blue Billywig, a beetle-like insect with a long stinger and wings on its head that allow it to spin as it flies, Mooncalves – with big, round eyes on the tops of their heads who leave intricate patterns in wheat fields during moonlit mating dances, Graphorns – carnivores with grayish-purple hides and multiple, long, pointed horns.

 

Still, I was disappointed they didn’t show the keystone species of enchanted beasts, megastar of all magical menageries – dragons.

 

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Heaven forbid, J.K. Rowling, the “Harry Potter” book author debuting as scriptwriter in this film, reserves the dragons for Sequel Number Five?

 

One thing’s sure.  She has confirmed she will make a handful – maybe more.

 

“Fantastic Beasts and Where to Find Them” takes the audience to 1920’s New York, half a world away from Hogwart’s School of Magic and 80 years before Harry Potter makes his entrance.

 

Newton Artemis Fido “Newt” Scamander (Eddie Redmayne), a true-blue Brit Magizoologist, wants to return Frank, the Thunderbird he rescued from illegal magical beast traffickers in Egypt, to its native Arizona.

 

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The story happened before he wrote the textbook that would someday be required reading at his alma mater, Hogwarts.

 

He arrives in the midst of high tension between No-Majs (American for Muggles) and the Big Apple’s wizards. An unknown magical thing was wreaking havoc on the streets and dark wizard, Gellert Grindelwald, was on the loose.

 

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Newt stashed his magical creatures in his rattling leather suitcase. Disaster strikes when his luggage gets swapped with the case of sample pastries of aspiring No-Maj baker Jacob Kowalski (Dan Fogler) and the mischievous beasts get unleashed in the city.

 

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It was a serious breach of the Statute of Secrecy that former Auror, Porpentina “Tina” Goldstein (Katherine Waterston), jumps on. Recently demoted to wand registration, she grabs the chance to regain her post as an investigator.

 

Events take an ominous turn when Percival Graves (Colin Farrell), the enigmatic Director of Magical Security at MACUSA (Magical Congress of the United States of America), suspects both Newt and Tina.

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Now branded as fugitives, Newt and Tina join forces with the latter’s slinky sister, Queenie – a mind reader who has never met a Muggle, and portly but charming Jacob.

 

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The quartet becomes a band of unlikely heroes who must recover Newt’s missing beasts before the MACUSA slaughters them. This puts them on collision course with dark forces pushing the wizarding world and the non-magical one at war.

 

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While the setting and the characters are different from “Harry Potter” the conflict is the same, if not more complicated.

 

“At the core of this film is the fear of things we don’t understand and how people react by taking extremes,” explained Eddie Redmayne.

 

“It’s why wizards are hiding in New York, why there’s no interaction between them and the Muggles, why they want to destroy magical beasts, who might reveal the existence of magic.”

 

Enchanted they maybe, the animals have no way of knowing their very being presents a threat, Rowling stressed.

 

“The beasts don’t understand they’re supposed to hide. Newt was the lone voice saying, ‘We shouldn’t exterminate these creatures,’ which was the standard practice to maintain secrecy.”

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Newt accepts the beasts on their own terms.  He’s an exceptionally broadminded wizard who understands those who are stigmatized, constantly questioning why certain life forms are considered more important than others.

 

Challenging the status quo, “Newt believes that with proper education, wizards could come to appreciate how magnificent these animals are and learn to coexist with them,” the star actor added.

 

Odd that a prologue focused on goofy magical animals let loose on a non-magical mankind would be more viscerally intense and political than the epic “Harry Potter”, tackling themes such as xenophobia, inequality, authoritarianism and oppression.

 

And it’s just the beginning of a series.

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Each of the five Fantastic Beasts movies will take place in a different major city, expanding the wizarding world into all corners of the planet, Rowling herself hinted.

 

Hogwart’s Headmaster Albus Dumbledore will come up in the sequels too, she confirmed. “You’ll see him as a younger man and quite a troubled man in the formative period of his life. As far as his sexuality is concerned: Watch this space.”

 

Enough loose ends have been left out in this first part.

 

What will be the new life and challenges for Newt’s Thunderbird in Arizona?

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What happens to that fragment of “obscurial” –  the malevolent black haze from a child’s repressed wizardly powers – that “got away” in the end? Can it still re-assemble itself to mop up “unfinished business”?

 

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And will Grindelwald stage another grand escape? He vowed the wizard prison can never hold him for long when they arrested him and the MACUSA President acknowledged they can’t keep him behind bars for good.

 

Of course, at least two love stories dangled at the end of the first saga.

 

Queenie and Jacob, drawn to each other before the Obscurial crisis, are still attracted to one another afterwards, although Jacob’s memory of their earlier encounter had been wiped out.

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Needless to say, everyone who read the books knows that Newt and Tina will marry. Then their grandson, Rolf, will marry Luna Lovegood – Harry’s loony friend in the last three Harry Potter novels.

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Maybe the dragons will fly in between or just before all the sagas end?

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RAMPAGE OF THE SUPER VILLAINS: SUICIDE SQUAD

 

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Sometimes, it feels so good to be bad.

 

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Maybe that’s why I took such great delight watching “Suicide Squad”.

 

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The formula’s quite simple. Pluck a task force of DC’s crazy Super-Villains from the Belle Reve Federal Penitentiary for the “worst of the worst”, arm them to the teeth and dispatch them to kill an ancient witch – to save the world from her over-computerized Armageddon.

 

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Such a merry melee! And no heroes here, really.

 

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Even the good guys are bad, although they agree to being used for the interest of good… It’s just a pack of bad baddies, good baddies and bad goodies.

 

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I love films based on comic-books. They don’t take themselves too seriously.

 

Of course, at the back of my mind, I was asking: Do they really need so many meta-humans to annihilate an archaeologist possessed by an ancient Enchantress (Cara Delevingne) magicking humans into blob-like monsters and her metal laser- shooting brother who have no convincing motive for destroying the world?

 

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And frankly, I would die to see more of the demented couple – Joker(Jared Leto) and his female version, Harley Quinn(Margot Robbie).

 

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Harley Quinn stole the scene from everyone with her rendition of a neon-splashed doll-like cheerleader sociopath. Without doubt, she had the most fun. Too bad she’s mostly an underused bombshell here because it’s not her movie anyway.

 

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Truth is, she had more impact than everyone, including her “Puddin”, the metal-toothed Joker, who had the most pre-release publicity but was relegated to a minor role and given too little screen time.

 

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The rest, except for Deadshot (Will Smith), made sympathetic by being shown as a loving dad, and one-time gangbanger turned repentant pyromaniac, Diablo (Jay Hernandez) who killed his family when he failed to control the flames flying from his body, are cardboard characters.

 

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Captain Boomerang (Jai Courtney) was more of an Australian stereotype. Killer Croc (Adewale Akinnuoye-Agbaje) a cannibal half-reptile, had too much prosthetics and too few lines.

 

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The “bad goodies” include ruthless U.S. intelligence officer Amanda Waller (Viola Davis), who’s as scary and unpredictable as the crazies she’s wrangled for the job. She plants a micro-bomb in her Suicide Squad’s necks, programmed to blast them to bits if they don’t toe the line, and coerces them to become redeemers.

 

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And she brought in Col. Rick Flag (Joel Kinnaman), lover of the archaeologist persona of the Enchantress, a career military man who takes charge of the super villains on their mission, plus his bodyguard, Katana (Karen Fukuhara), a samurai sword with a grudge.

 

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Oh well, the plot maybe silly and the characters, preposterous but what the heck. It’s a comic story onscreen and the movie’s  murderously fun.

 

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STAR TREK BEYOND: FUN IN THE FINAL FRONTIER

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One of the world’s most iconic sci-fi series now celebrates its 50th year and the newest reboot features over 50 unique alien races, new pairings and a script written by cast members.

 

It’s cool – and fun, as it should be. After all, films of this genre shouldn’t be dead serious, ultra-dark or apocalyptic

 

It was the first time audiences see the crew on their five-year mission, on a galactic adventure more akin with the original series.

 

Its two predecessors were basically earth-bound. The first focused on forming the group that would become the Star Trek family. The second dealt with galvanizing the crew to face a new threat.

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Chris Pine plays Kirk in Star Trek Beyond 

Interestingly, actors themselves wrote the “Beyond” screenplay. Simon Pegg (chief engineer Montgomery Scott, “Scotty”), co-wrote it with franchise newcomer Doug Jung, who also played husband to John Cho’s Lt. Hikaru Sulu.

 

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Left to right: Deep Roy plays Keenser and Simon Pegg plays Scotty in Star Trek Beyond 

In “Star Trek Beyond”, the Starship Enterprise explores the furthest reaches of uncharted space and was destroyed (again), stranding the crew and scattering them on Altamid, an unexplored alien planet.

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Left to right: Anton Yelchin plays Chekov and Chris Pine plays Kirk in Star Trek Beyond 

“The stakes are as big as they get,” says producer J.J. Abrams. “After they see the Enterprise ripped to shreds and torn asunder, the crew is forced to survive and reconnect with each other. We get to see how well these separate pairs, who had previously shared little screen time, work together towards a common goal.”

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The writers enjoyed pairing characters.

 

A newly introspective Captain Kirk (Chris Pine) finds himself stranded with youthful optimist Chekov (Anton Yelchin).

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Left to right: Anton Yelchin plays Chekov and Chris Pine plays Kirk in Star Trek Beyond 

 

“Kirk (Chris Pine) is an alpha male who has had all the answers and lived by the seat of his pants with his hair on fire. He’s proven himself and moved out of his father’s shadow, but now he’s faced with the existential question: What now?”  Doug explained.

 

“We put the more jaded cynical Kirk with Chekov, who’s young and eager and much less cynical.”

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Zachary Quinto plays Spock in Star Trek Beyond 

Chris Pine agrees, “The first two films were very Spock and Kirk-centric, but it’s smart to break everybody up to see how they all work together, how they play off of each other.  Being the captain of the Enterprise is the most defining thing in Kirk’s life. His father was also the captain of a ship that was destroyed, so the destruction of the Enterprise brings up a complex set of emotions tied to who he is and I think Kirk sees a lot of himself in Chekov.”

 

“Where Kirk starts the film unsure of the future, Chekov comes from a place of absolute confidence in the mission,” Anton noted.

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Left to right: Zoe Saldana plays Uhura and John Cho plays Sulu in Star Trek Beyond 

“When the Enterprise is destroyed, it really takes away everything they thought was important. They don’t even know if the rest of the crew is alive. That forces them to relearn the value of love and the respect they have for their crewmates.”

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“Anton and I laughed a lot,” Chris recalled. “We have scenes where I’m harping on him and he’s harping on me, we’re being shot at and things are exploding all around us. It’s anxious and intense, but more fun than anything, because there’s such a great heart to Anton’s character and to Anton himself.”

 

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Left to right: Anton Yelchin plays Chekov and Chris Pine plays Kirk in Star Trek Beyond 

To bring a dramatic and comedic foil for the pragmatic half-Vulcan Commander Spock (Zachary Quinto), the writers paired him off with the ever cantankerous Doctor “Bones” McCoy (Karl Urban).

 

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Left to right: Zachary Quinto plays Spock and Karl Urban plays Bones in Star Trek Beyond 

 

As Kirk’s two closest friends, they reliably fail to see eye to eye when making decisions.

 

“The relationship between Spock and Bones has always been fascinating and funny, as they are diametrically opposed to each other,” Simon elaborated. “Yet somewhere beneath that is a great friendship we wanted to explore.”

 

“Historically, Bones and Spock are about as different as you can be,” Zachary acquiesced. “Whereas Kirk and Spock are two sides of the same coin, Bones and Spock have completely opposite modes of operation.”

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Zachary Quinto plays Spock in Star Trek Beyond 

“You get to see the relationship with Bones and Spock develop like you’ve never seen before,” Karl put in. “Both of our characters are at a crossroads and dealing with their own internal dilemmas. And being stranded on an alien planet forces us to confront these things together.”

 

“Spock’s more human and vulnerable here,” Zachary remarked. “I appreciate the times where the action dials back to give Spock quieter moments, which are some of the most fun and interesting to play.”

 

After Spock suffers an injury, Bones finds himself stretched beyond his comfort zone.

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Karl Urban plays Bones in Star Trek Beyond 

“He’s a compassionate doctor forced into a situation where he may have to take a life instead of preserving it,” Karl noted. “He’s been thrown into the deep end and becomes a curmudgeonly action hero out of necessity.”

 

“Bones is a character who people really love, and I never quite feel like he gets his due,” Simon lamented. “This was our time to rectify that. As easy as it might be to give Scotty all the cool lines, it felt a bit strange, so a conscious effort was made to share the wealth.”

 

In addition to losing the Enterprise, the end of Spock and Uhura’s (Zoe Saldana) relationship provides the film with an additional metaphoric casualty.

 

But before either is able to properly process the split, the ship is torn apart and Uhura finds herself on Altamid with Sulu (John Cho).

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Like Scotty, John’s reaction to the loss of the Enterprise was visceral.

 

“My heart breaks every time we hurt the Enterprise a little bit. It’s tough. I’m the helmsman, so I feel some responsibility for its well-being, and it’s gone through so much more than it deserves. This iteration is particularly violent.” “

 

“I realized on this film that Uhura and Sulu are very similar in their commitment to their duty and their faith in their crew. They’re counting on the crew as much as the crew is counting on them,” Zoe remarked.

 

As for Scotty, “Of the crew, he’s probably the most satisfied with his life at the start of the film,” Simon pointed out. “He’s doing his thing in the guts of the ship, keeping things moving and obviously, that’s all quickly taken away from him.”

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Left to right: Zachary Quinto plays Spock, Sofia Boutella plays Jaylah and Karl Urban plays Bones in Star Trek Beyond 

Scotty finds himself depending on Jaylah (franchise newcomer Sofia Boutella) a strong willed, technologically adept alien ally, after she saves his life on the surface of Altamid.

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Sofia Boutella plays Jaylah in Star Trek Beyond 

“Jaylah has been alone on Altamid for some time,” Sofia expounded.  “She’s had to fend for herself for so long that when Scotty arrives, she sees the potential to make a friend. Even though she’s defensive and guarded, Jaylah and Scotty develop a sort of brother and sister dynamic that Simon and I have off-set.”

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Sofia Boutella plays Jaylah in Star Trek Beyond 

“Sofia charmed the socks off of all of us,” Simon laughed. “She inhabits the character in such a way that made it a real joy to be her foil in the film. She’s super-resourceful and tough. I love that she has this strange, syntactical way of speaking, which makes her feel very alien, and yet she’s unbelievably sympathetic.”

 

As for the antagonist, Idris Elba joins the cast as “Krall,” the hostile alien responsible for destroying the Enterprise.

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“I didn’t want to play the archetypal bad guy,” he clarified. “I knew Benedict Cumberbatch (who played Khan in Star Trek Into the Darkness) would be a tough act to follow, so I worked extensively with Justin, Simon and Doug to figure out exactly who this guy is. How does he speak? What’s his physicality? Why does he have this beef with the Federation? When you have an answer to that, he’s no longer a monster. There’s a reason for everything that he does.”

 

“It was fascinating to learn all about the Star Trek universe,” Idris went on. “Then to be put in a position to challenge it, poke at it, and tear it all down. Krall really doesn’t care.”

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Left to right: Chris Pine plays Kirk and Idris Elba plays Krall in Star Trek Beyond 

“Alice Through the Looking Glass”: Time for a Little Madness

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I watched “Alice Through the Looking Glass” to get inside a fantasy land, join Lewis Carroll’s heroine inside the mirror, down Underland, through the bowels of the great clock of Time, into the Past and back to the Present.

 

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“Time” that magical being, with a human hand on one side and a mechanical one on the other, held court on a black throne in Eternity’s Castle, admonished, “You cannot change the past. It always was. It always will be. Although I dare say, you might learn something from it.”

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“The passage of time is something Alice has always regarded as a bad thing, because time took her father from her at a very early age,” says Director James Bobin. “What she learns in this story is that time isn’t her enemy but is something that can be appreciated.”

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That’s why screenwriter, Linda Woolverton, made “Time” an actual character in the movie.

 

And Time was quite a scene-stealer, contemplating an eternity of pocket watches dangling in space, each of which representing a soul,

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Nevertheless, “Editing Lewis Carroll is close to impossible,” commented Johnny Depp, who played the Mad Hatter. “You have to come at it with another angle but still keep it focused on the source, which Linda did brilliantly.”

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Although the producers of “Alice in Wonderland” talked of a second film, they’ve always known they can’t do a straight adaptation of Carroll’s second book.

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“The ‘Looking Glass’ book is essentially a bunch of random and bizarre episodes from Carroll’s life which don’t bear any relation to one other,” producer Suzanne Todd explained.

 

“So we had discussions about what would be interesting thematically and what we wanted the story to convey.”

 

Alice Kingsleigh (Mia Wasikowska), the head-strong young woman raised in Victorian London who is a dreamer and a non-conformist, was 19 in the first film.

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In this sequel, she’s on the cusp of adulthood, having spent the past three years living her dream and sailing the high seas as captain of her own ship.

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Returning to London, she finds that the antiquated views about women’s role in society remained unchanged and the future she saw for herself seemed more remote than ever.

 

While attending a reception at the home of Lord Ascot – the man she spurned now married to another woman, Alice is overcome with emotions as the corporate landlubbers who own her ship betray her.

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She storms out of the party, spots Absolem (Alan Rickman), transformed to a blue Monarch butterfly, who leads her to escape through the magical looking glass in the Ascot mansion, back to the fantastical realm of Underland.

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There, she is reunited with her friends the White Rabbit (Michael Sheen), the Cheshire Cat (Stephen Fry), the dormouse (Barbara Windsor), the March Hare (Paul Whitehouse), the Tweedles (Matt Lucas) and the Mad Hatter (Johnny Depp), who, unfortunately, is not himself.

 

The Hatter has lost his Muchness. He’s dying.

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To save him, Mirana (Anne Hathaway), the mild mannered and kind White Queen and beautiful younger sister to the spiteful Red Queen, dispatches Alice to seek out Time himself (Sacha Baron Cohen).

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Time, an odd creature, part human, part clock, inhabits the void of infinitude and holds the Chronosphere, a metallic globe cum time machine, which will transport Alice to the Oceans of Time back to the Past to save the Hatter’s family from being roasted by the Jabberwocky.

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The White Queen believes this is the only way to keep the Hatter alive.

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The pugnacious Red Queen, Iracebeth (Helena Bonham Carter), remains in exile, having been banished to the Outlands by her sister, where she has befriended Time and is plotting to steal the Chronosphere for herself. Oh, but how deliciously wicked she was.

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Alice returns to the past, crossing paths with friends and enemies at different points in their lives, and sets off on race across the Oceans of Time to escape Iracebeth and Time and save the Hatter before time runs out.

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Interestingly, “Mirana is not all that perfect. She has some of her sister Iracebeth’s darkness in her veins but she keeps it very repressed,” Anne maintained. “While she’s still on the good side, there’s a lot more going on than we first realized.”

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“Our director’s really brilliant,” Mia noted. “He’s taken the spectacular world Tim Burton created in ‘Alice in Wonderland’, given it style and depth of emotion, making it his own. He genuinely loves the story and pushed for more of an emotional connection between all the characters.”

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As for her own role, “Alice is a great character because she’s very much her own person, and after returning from her travels where she was captain of her own ship has gained more confidence and is filled with a sense of inspiration and excitement.”

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“Alice, as written by Lewis Carroll, was very forward-thinking for the time,” the director stressed. “She’s almost out of place because she’s a strong female character in a very patriarchal, Victorian society…sort of a modern woman in an old-fashioned society.”

 

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MOVIE REVIEW:“CAPTAIN AMERICA: CIVIL WAR”

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Watching your favorite Super Heroes beat the hell out of each other is always fun to see.

 

“Captain America: Civil War” did just that.

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Because of the huge toll on people’s lives, such as the collateral damage when Scarlet Witch (Elizabeth Olsen) pulverized part of a building and killed civilians in Lagos as the Avengers chased a stolen biochemical weapon – politicos decreed the superhuman guardians should submit to UN oversight.

 

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This sparked off a “civil war” in the Avengers’ ranks.

 

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Odd that Tony Stark aka Iron Man (Robert Downey Jr.), the ultimate dauntless entrepreneur, sided with the stiff-necked bureaucrats, along with Black Widow (Scarlett Johansson),  War Machine (Don Cheadle), Black Panther (Chadwick Boseman) and Vision (Paul Bettany).

 

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More weird still, Steve Rogers aka Captain America (Chris Evans), the Super Soldier product of a US military experiment, was the one who spurned government interference, along with Scarlet Witch, Winter Soldier (Sebastian Stan), Hawkeye (Jeremy Renner) and Falcon (Anthony Mackie).

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And to spice up things, a sort of comic relief to the dead-serious, idealistic Avengers, Spider-Man (Tom Holland) Ant-Man (Paul Rudd) joined the ruckus.

 

Tony Spark’s exchange with Spider Man as he sprung the secret trap door hiding the arachnid hero’s red and blue “onesie” was one of the funniest in the movie.

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It was almost as hilarious and absurd as when Iron Man discovered he’s got Ant Man inside his suit.

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But what I don’t understand is why after Spider Man glued his adversaries – including Captain America – all over the place and tangled them in his spider silk, his original recruiter, Iron Man told him to lay off the action for his own sake.

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I also found T’Challa aka Black Panther (Chadwick Boseman) an intriguing character – someone with his own agenda, a figure “known by everyone but known by no one”. Yet I felt he softened up quite disappointingly in the end.

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And despite his pretty boy looks, Captain America still comes across as somewhat shallow juxtaposed with a battered and disheveled Robert Downey Jr. godfather of all Super Heroes.

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Returning for the fifth time to play the greatest soldier of all time, Chris Evans says, “It’s the first time Captain America doesn’t really know the answer. It’s always cut and dry for him to know which side of the coin to fall on. But in this conflict there are no clear lines between what is right and what is wrong.”

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Steve Rogers ceaselessly struggled with what happened to his former best friend, Bucky Barnes aka Winter Soldier (Sebastian Stan), now turned into a killing machine– and a large part of the movie revolved on how Steve clung to the hope that he could still get his best friend back.

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The ultimate dilemma is similar to “Batman versus Superman”, the thrill is only amplified because you have more superheroes slugging it out, only this one has more comic relief, with Spider Man and Ant Man thrown in.

 

Naturally, fans are expected to take sides. They would root for either Team Cap or Team Iron Man.

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“The concept of Civil War is very important,” the Directors, brothers Anthony and Joe Russo stressed.

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“Our goal was to tell the story in such a way that both sides have really compelling cases. Both Tony Stark and Steve Rogers have very compelling points of view.  We want people to be conflicted and torn, which creates a sense of tension about what’s going to happen after this film.”

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GRAND BATTLE OF COMIC BOOK ICONS: BATMAN VERSUS SUPERMAN, DAWN OF JUSTICE

 

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It’s the planet’s biggest gladiator battle yet: Son of Krypton versus Bat of Gotham,  two of the greatest comic book icons slugging it out to the death in the big screen.

 

Batman, the underground vigilante, a knight in the darkness and Superman, the unbeatable alien in the sky. Who can possibly win such a war?

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Of course, the odds favor Superman (Henry Cavill), the extra-terrestrial with god-like powers and strength. Batman (Ben Affleck) is flesh-and-blood human. His only weapons really consist of his money, technology and brains.

 

Both are good guys, so they should be friends. But because they have to tackle the problem that comes with being a hero: access to power, they inevitably have to clash.

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We all know that power corrupts and absolute power corrupts absolutely.

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A couple of years ago, during the Black Zero Event, the alien Super Hero racked up a lot of collateral damage to rescue the world from evil General Zod. Superman saved the Metropolis but a lot of innocent people, including Batman’s own family, perished in the process.

 

No wonder, Gotham City’s vigilante decided to take on Superman while the world struggles with what sort of hero it really needs.

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“He has the power to wipe out the entire human race. If we believe there’s even a one percent chance that he is our enemy, we have to take it as an absolute certainty,” Batman maintained in the film.

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“An interesting way of beginning this story was to examine Superman from another perspective, Batman’s perspective,” explained Director Zack Snyder.

 

Batman (aka tycoon Bruce Wayne) doesn’t know who Superman (aka journalist Clark Kent) is. “All he knows is what the public knows.  He blames him for the lives lost in Metropolis, lives that he felt responsible for.  His hatred has been building up inside.”

 

The destruction Superman left in his wake prompted many to question those who only see what he can do, without debating whether or not he should.

 

“When we find Superman, he’s been dealing with everyday life as a Super Hero, but there’s a distinct shift happening in how his heroic efforts are viewed, thanks to the unintended consequences of those acts.”

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“Every action has a reaction; one guy’s rescue leaves another in distress.  We wanted to explore the reality of saving people and what intervening can really mean.  Superman is a good guy trying to do the right thing and that he isn’t political. But in today’s world, it’s impossible not to be, no matter your intentions.”

 

“The world is filled with fear after being attacked by aliens and literally shaken to its very core.  Despite having what they look to as a redeemer, people need to direct their fear at something,” Henry Cavill, who reprises his dual roles as Clark Kent and the Man of Steel, confirmed.

 

“It wasn’t intentional on Superman’s part, but a lot of people became fearful afterwards, and that’s the impetus that causes Batman to become suspicious of him,” added Screenwriter David S. Goyer.

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“Everyone wants to see Batman and Superman in a film together, and everyone wants to see them fight,” says producer Deborah Snyder.  “It’s a thrill for anyone who loves comics, and Zack is not only a director but a huge comics fan as well.”

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With both Super Heroes appearing in comics for more than seven decades, there was a wealth of beloved source material to turn to for ideas.

 

“We wanted to introduce a version of Batman that hasn’t been seen on screen before,” she continues.  “One who’s been doing this a long time so he’s seasoned, but perhaps a little too long, so he’s also jaded.  If you’re constantly fighting crime in the way Batman does, over time how does that affect your body?  How does it affect you emotionally?”

Batman V. Superman: Dawn Of Justice

As for Superman’s challenge in this movie, “We knew we couldn’t find bigger physical stakes than the destruction of the Earth,” the director noted. “So we had to make the emotional stakes higher.  And who is a more worthy foil for a philosophical war than Batman?  Once you say that out loud, it’s hard to go back.”

 

But does it hold water to pit a very mortal Batman against a Superman in top form?  Can Batman, even with his array of weapons and well-honed battle strategy, hope to defeat an invincible being?  How great a price will he pay for this act of hubris?

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Unfortunately for Superman, he is not as invulnerable as he believes.  Superman never sees the threat coming until it lands on his doorstep. And when it does he dismisses Batman as a minor irritation.

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“In an all-out to-the-death fight, who would win? Clearly, Superman,” Henry Cavill asserts. “But that’s not Superman. He doesn’t agree with Batman’s idea of justice at any cost. He wants to solve the problem as cleanly as possible without stooping to Batman’s level.  So Batman immediately gains an advantage.”

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“Combining Batman and Superman in one film was no small feat. It looked easy in the script, but it wasn’t,” Ben Affleck acknowledged.  “Even taking their physical abilities out of the equation, these are two very strong personalities with competing philosophies about how to do good in the world but facing the same dilemma: how evil do you have to become to effectively fight evil?  These guys are essentially the Alpha and Omega of Super Heroes, and their mutual misunderstanding and mistrust ultimately lead them into conflict with one another.  I think…I hope…we did them justice.”