Monday, September 19, 2016
The onscreen introduction of each costumed hero is framed through a specific point of view; each is obscured at first glance and requires processes of clarification. For Batman, Superman takes the longest and Wonder Woman the shortest (the re-assemblage of pixels on a screen).
I've now seen BvS several times in both incarnations (I prefer the Ultimate Edition). The film is unique for me in that I generally loath Snyder's body of work (perhaps I should revisit Man of Steel) and yet its first half is among the most complex things I've seen this year. It's second half remains flat and uninspired, not the ending, mind you, but the Doomsday fight. Still, this is one of the best cinematic explorations of emotional and psychological perspectives that I've seen; Sully being another 2016 master treatise on the subject.
The film is more about trauma and how it shapes one's hermeneutic processes of perception and interpretation than it is about "justice"; it's barely a superhero film at all, which is probably why I love it so. Both titular figures are post-traumatic subjects navigating a precarious landscape of shifting allegiances. For better or worse, Wonder Woman remains an erotic enigma. My problem with the film's second half is rooted in this concern. Luthor and/or Doomsday should be given the same consideration for their perspective instead of being mustache-twirling loons (see my initial thoughts here), a problem made more apparent by the deliberate depiction of Batman as a fascist goon in need of redemption.