MAN OF STEEL: CRITIQUE OF A CRITIQUE

The one Critique of Man of Steel that I cannot stand.

There is a consistent slight thrown at 2013's Superman movie 'MAN OF STEEL'. I can accept most of the criticisms of the movie are based on personal preference and although I do love the movie and it's fallible interpretation of Superman I do have a few issues with the film, for one I think the World Engine sequence is overlong and boring and affects the last act's pacing in a negative manner. No film is perfect.

But the one criticism that really bothers me is the assumption that Superman is somehow responsible for the destruction of Metropolis and directly accountable for death's of 'thousands' of people during his climatic showdown with Zod. Neither of these criticisms make much sense to me in the context of the film itself. And let me tell you why.

Now there can be an argument made that Superman is the reason that Zod came to Earth in the first place. And I'll concede that is a valid argument, but that's a reoccurring theme in many Superhero films from the Batman movies to the the Avengers films. The heroes tend to be indirectly responsible for the main villains actions or motives and Man of Steel is not the only addition to the genre guilty of this. As so many films are guilty of that particular cliche I don't see it as being to much of a slight against Superman's character in the movie. I'm only talking about the climax and the destruction of Metropolis.

Zod and the Kryptonians are responsible for the destruction of the city, and the people who died did so as a result of the weapons used by the alien invaders. The fact of the matter is the destruction would have continued had Superman not disabled the World Engine. This was the first salvo in an alien invasion and should be seen in the same context as the destruction in a movie like Independence Day. Superman couldn't have stopped those people from dying because he was elsewhere trying to disable the machine that was powering that attack. Unless he had the ability to both disable the machine and at the same time save people from the attack that was happening simultaneously. Zod unleashed the weapon on Metropolis, Zod was responsible for the subsequent destruction. Blaming Superman would be akin to blaming a Marine for a terrorist attack. It just doesn't ring true.

Now we come to the much referenced Superman and Zod fight and the 'many' Skyscrapers that apparently fell due to their scrap. Now I have watched the film repeatedly and do you know how many skyscrapers topped due to their battle... One. One skyscraper which was by the epicenter of the destruction. And that fell due to Zod's heat vision. Many would argue that the building was full of people and they all died due to this. Well considering the proximity to the initial destruction there is also an argument that it would have been evacuated. People love to apply real world logic to this scene and say that it would be impossible to evacuate the building. My question is how you can believe a man can fly and shoot fire from his eyes, something that doesn't occur in reality, but the notion that a building could have been evacuated post an attack of that magnitude just doesn't seem realistic to you simply boggles my mind. The car park followed but I think it's safe to say only the insurance policies of the owners of those cars destroyed in the fight really suffered as a result. As for the rest of the Skyscrapers Superman allegedly toppled, simply watching the film will reveal he was thrown into them and unless the buildings were made of paper mache then even that wouldn't cause them to crumble. I've also heard people argue that even though they didn't tumble he would have impacted people within, killing them. But considering Superman is at no point covered in the blood, bone and organs of these imagined victims, that didn't happen either. We don't at any point see this happening at all during the fight.

But while there are arguments against my viewpoints and I'll respect those, but the one argument I won't accept is one that is brought up repeatedly by both fans and comic creators alike and it is this. SUPERMAN SHOULD HAVE LED ZOD AWAY FROM THE CITY. I won't concede this argument because it is complete and utter bullshit, totally nonsensical. The validity of that argument hinges on ZOD, a maniacal, genocidal Alien being with powers comparable to that of Superman, who in the movie threatens to wipe out every single human being on the planet as revenge deciding to disregard his own intentions and simply ALLOW Superman to drag him away from the city without resistance or barring that deciding to FOLLOW Kal El to some secluded field away from any of the collateral damage he no doubt intends to inflict. If you watch the climax, there is a moment where Superman does in fact take Zod away from Metropolis, and what happens? Zod smacks Superman with a satellite and the fight continues back. Even in the comic books this rarely happens, it doesn't even happen in the Donner films.

This is my viewpoint on the destruction in Man of Steel. And post the Batman v Superman trailers I feel there will be a new perspective on the climax of the film over the next few years. I accept people not liking the film. I accept people with valid arguments about the pacing, plot or tone of the film. But I will not accept falsehoods, and Superman causing the deaths of thousands of people during the climactic fight is a falsehood, plain and simple.

Oh, and in closing anybody mad at Superman killing Zod in Man of Steel I'll leave you with this. Superman killed Zod when he was about to burn a family of humans alive, which is a stark contrast to Donner's Superman who murdered a defenseless, powerless Zod, who was no more of a threat to him or anyone else than a regular human. And smiled while doing it. Pick your battles, that's all I'm saying.

SoA

THE AMAZING SPIDER-MAN 3: TREATMENT.

Today I am doing something a little different. Instead of DC, I will be focusing on a beloved MARVEL comics character that hasn't been given a fair shake lately. This is a very, VERY raw treatment for how I would do a third AMAZING SPIDER-MAN FILM without rebooting. It's just a rough outline of the plot and a few of the elements that I would include.

Treatment: THE AMAZING SPIDER-MAN 3.

The film opens in Iraq, amid a violent fire fight between American forces and insurgents. We follow a lone heroic Soldier, face obscured by helmet, through the chaos as he heroically saves his comrades in arms. The unknown Soldier shows spectacular athleticism and a devil may care attitude to the danger around him as he rushes to the aid of two young soldiers that are pinned down by a enemy squad. He takes down the squad and ushers his fellow Soldiers to safety. Unknown to him a lone, mortally wounded enemy combatant is aiming a RPG at his location. With his dying breath he fires of the rocket. The Unknown Soldier sees this and at the last second pushes his allies to safety as the Rocket explodes beside him. When the dust settles the Soldier is lying on his back unconscious, gravely wounded, his fellow Troops remove his helmet to reveal... FLASH THOMPSON.

Cut to six months later in New York. Subway. CLETUS KASADY, a emaciated man who oozes evil, his face hidden under a dirty fedora, stalks a well to do family. He follows them off the train and out of the station. Hidden in the sleeve of his coat is a razor sharp SCALPEL. He watches them intently as they enter their building. He follows. Inside the expensive apartment, the Family, Mother, Father, Two Kids, go about their business as families do. We focus on the Father as he makes his way through the house. He pauses, forgetful of something and walks back through and into the living room where he sees his family shuddering in fear. Kletus pounces and puts the blade to his neck. The family screams. The unhinged Killer taunts them. Just as he is about to slit the Father's throat, the Daughter notices something by the window.. Glass shatters and a line of Web strikes KASADY in back he releases the Father as he is pulled backwards out of the window and swung up onto the roof. He lands roughly and cuts the webbing from his body. SPIDER-MAN lands on the roof beside him and after a brief fight, where Kasady attacks like a wild animal, the hero subdues the murderer and leaves him for the police. He leaves and we follow Spider-Man to his lonely NY studio apartment where he removes his mask to reveal PETER PARKER, older now, weary, still mourning the death of GWEN STACY.

OSCORP INDUSTRIES in conjunction with the US MILITARY, work on a new and dangerous project. A way to incorporate the previous experiments, the Spider VENOM, into a viable way to help amputees and wounded soldiers. It is a strange BLACK LIQUID, almost ALIVE. One of the scientists is screening potential candidates for trails, he chooses, Flash Thompson.

Flash Thompson is in a military hospital having lost both his legs due to his heroics. Peter visits him. Both find common ground in their personal losses, Peter Gwen, Flash his independence, both due to the lives they have chosen. Flash idolizes Spider-Man and confesses to Peter that it was the hero that inspired him to join the Marines, to make a difference and fight injustice. As Peter leaves, Military Officials and Oscorp Scientists arrive to offer Flash a proposition. When Flash hears he may get his legs back, he agrees.

Cletus Kasady, who is being kept in solitary confinement, is visited by GUSTAV FRIERS. It transpires that Kasady is a assassin on Oscorp's payroll and that the man he was attempting to kill was a former Oscorp employee. Kasady threatens to confess to the authorities of all the murders that he has committed for Oscorp unless they get him out of prison. Frier's uses the fact that Spider-Man captured Kasady, and not the Police, to get the case thrown out of court and Kasady back on the streets.

Peter meets aspiring actress Mary Jane Watson and forms a connection, but still feels guilty about Gwen's death and is afraid that he will be the cause of another tragedy and this prevents him from entering a relationship. Due to his conflicted feelings he visits HARRY OSBORN at RAVENCROFT. The former friends trade verbal blows and accusations. Peter almost snaps when Harry lays the blame for Gwen entirely at his feet because none of it would have happened if he had just helped Harry, like a true friend would have. Peter catches himself, calms and leaves.

Meanwhile at Oscorp, Flash is bonded with the newly christened, 'VENOM SYMBIOTE'. He feels a euphoric rush as his legs are returned and the substance envelops his body. Friers watches in the shadows as Flash passes many tests. His agility and abilities akin to Spider-Man. When asked a few questions by observing scientists he answers 'We' instead of 'I'. Flash is devastated when he is told that he will not be able to continue wearing the suit as it has been labeled unstable. He is approached by Friers, who offers him a deal and plays to his Military background. Flash will have full use of the suit if he agrees to go on missions for Oscorp's interests, replacing Kasady. Flash, seemingly still in the thrall of the Symbiote, agrees. His first mission, assassinate the Serial Killer.

Peter on a date with Mary Jane discovers that Kasady is free and has been cleared of all charges. Angered he decides to follow the Killer to his hideout as Spider-Man. He confronts Kasady, but quickly discovers he is not the only one stalking the Murderer. Flash attacks and Spider-Man finds that he now has to protect Kasady from Flash. A battle insures where he and Flash are equally matches in abilities. During the fight Spider-Man manages to cut a piece of the Symbiote away from Flash's body and it scurries away out of sight. Spider-man battles Flash to a standstill and when he asks the former Marine who is he, Flash replies “WE ARE VENOM”. Flash knocks Kasady off a roof and the Killer plummets down into an alleyway. He's mortally wounded but not dead, as he lays dying the piece of the Symbiote slithers into a open wound and he convulses violently. Flash departs the scene, and Spider-man searches for Kasady, who has also disappeared.

At Oscorp, Flash begins to debate with himself about the nature of what Friers is asking him to do. A voice replies, not his own, the Symbiote's. Flash starts to become one, psychologically, with the Venom substance, which convinces him that he is a hero and can do the things that Spider-Man cannot. The Symbiote starts to alter itself to look like a Black Suited Spider-Man.

Kasady staggers through the city. People mistake him for a drunk. Two cops stop him and upon recognizing him, arrest him. As they drive him back to booking, the Symbiote takes hold and consumes his body and he becomes, CARNAGE. He escapes and kills to the two Offices, brutally. He swears revenge on Friers and Oscorp.

Friers gives Flash/Venom his next task. He's to assassinate the one person that could derail all of Oscorp's future plans and destroy the company. At first Flash refuses to murder a civilian until Friers reveals that it was Harry Osborn who was responsible for the death of Gwen Stacy. Enraged, Flash, now more Venom, agrees to the task.

Carnage, drunk with power, has gone on a city wide killing spree of Oscorp employees. Spider-Man battles the Monster, but due to the sadistic nature of Kasady ad his lack of moral compulsion against killing innocent people, Spider-man is badly beaten. Understanding that Oscorp is behind the emergence of both Venom and Carnage, Spider-Man breaks into Ravancroft and interrogates Harry. The former Goblin fills the hero in on the Oscorp Symbiote project which used Peter's father's work as a basis. Spider-Man realizes that he needs Harry's help in stopping both Carnage and Venom and thus breaks him out of the institution. Venom watches as Spider-Man escapes with Harry and in his twisted mind begins to blame the hero for Gwen and that he and the Goblin both killed her.

With Harry's help, Spider-Man breaks into Oscorp and he discovers that his friend Flash is in fact Venom. Friers sets Venom on both Spider-Man and Harry and a violent battle ensues. During the chaos Harry escapes and steals the Goblin suit and Glider, embracing once again his villainous nature. Spider-man tries to reason with Flash that he did not kill Gwen Stacy, and that Kasady has been killing innocent people. During the battle Venom removes Spider-man's mask and upon the realization that it is Peter he has a sudden, violent breakdown and surrenders fully to the Venom Symbiote. Seeing himself as a dark avenger, he is about to kill Peter but Harry saves Peter and they both flee Oscorp. Harry departs, promising Peter that they will meet again even if just to give Spider-man his chance at revenge.

Flash, now completely Venom, decides he must stop Spider-man, The Green Goblin, and Carnage. He plans to use Mary Jane and Friers as Bait for all three. He beats Friers senseless and kidnaps Mary Jane. He lures Spider-man to a confrontation at Gwen's grave. The Hero pleads with Flash to let both of his hostages go. Venom promises to make Spider-man's defeat public and that he, Venom, is the hero that New York needs. He departs.

Mary Jane awakes to find herself tied to the spire of the EMPIRE STATE BUILDING along with Friers. Venom is with them and as he watches NEWS & POLICE HELICOPTERS circle around them. Mary Jane asks why he is doing this this and momentarily Flash emerges. He confesses that he always loved Gwen and that after her death he joined the Marines to get away from the pain. He blames Spider-Man for not saving her and denying him his revenge against Harry. Spider-man arrives, as does Carnage and both engage in a three way battle across the rooftops. Each turning on and assisting each other randomly. While they battle, Harry arrives to seemingly rescue Friers. Aware of his attempt to use Venom to assassinate him, he drops Friers to his death. Mary Jane asks for help and Harry agrees, to even the score between himself and Peter. He lowers her safely to a rooftop below where Spider-man battles Venom and Carnage. He gives her a SONIC WEAPON, and tells her the symbiotes are susceptible to high frequency sound. She uses to save Spider-Man from Carnage. Kasady's Symbiote seemingly dies and leaves him powerless. Venom kills Kasady finally and he battles Spider-man after he disarms Mary Jane. Venom is about to kill Peter when Mary Jane pleads to the Flash part of him, telling him he is a hero and heroes don't kill. Spider-Man confesses his pain over Gwen's death but admits that he finally needs to move on, to let go, and that Flash should do the same. Flash spares Peter, but it is bittersweet. Flash states that he can move on because the Symbiote never loved Gwen, and that he is Venom now, and forever. He leaves.

Days later, Peter and Mary Jane visit Gwen's Grave. Finally he puts the past behind him and decides to move on, hopeful.

Harry, sitting alone in his hideout, goes over schematics for The VULTURE WINGS & DOCTOR OCTOPUS' ARMS. In front of him is a Mask, A HIDEOUS GREEN GOBLIN FACE, under a PURPLE HOOD. He smiles.

End.

This is a very basic plot and lacking in a lot of the vital nuances needed to make a film work, but that said it is pretty much how I would approach the franchise. My main goal would be to eject the elements that didn't work in the previous films and build on those that did. I see it as THE GOOD, THE BAD and the UGLY of Spider-man films.

SoA.

BRANIAC & DARKSEID: MY TAKE ON THE ICONIC DC VILLAINS

There have been some rumors floating around the web about the proposed villains of the two Justice League movies, Braniac and Darkseid. Whether or not these rumors are true or not I have no way of knowing but I am taking the opportunity to write about how I would depict each of these threats on screen.

First off is Braniac. Some time ago I wrote a treatment for a Superman origin movie that had Braniac as the main villain. While I took a few artistic liberties with the character I feel I stayed true to the essence of one of Superman's greatest foes.

In my treatment I depicted Braniac as the sole survivor of a race of a semi immortal beings who traveled the Universe collecting the remaining members of dying cultures and preserving them aboard their ships. Over time they themselves began to die out and left Braniac as the last of his people. Driven mad by millennia alone in the cosmos and dedicated to his peoples eternal cause, Braniac began to destroy civilizations he came into contact with. After decimating an entire planet he would collect the last remaining survivor and imprison them aboard his ship in his Menagerie. It was during this time that he came across the remains of Krypton and salvaged some relics but found no survivors.

The way I envisioned Braniac was as a sort of genuinely insane but committed galactic preservationist. He believed that life itself was inherently self destructive and would inevitably bring itself to extinction. This twisted logic rationalized his genocide of entire cultures as he felt they would destroy themselves regardless and so he would expedite the process and preserve what remained. My Braniac saw himself as benevolent and justified in his actions. When he comes to Earth and witnesses the violent nature of humanity he decides to destroy our world and it is here that he encounters Clark Kent, not yet Superman, who defends humanity as it's champion. He captures Clark and opts not to kill the only Kryptonian left in the Universe, instead he imprisons him aboard his ship. It is here that Clark discovers his Kryptonian heritage and finds his iconic Superman suit. I departed from the Superman lore and did not choose to include Superman's Father in the treatment, instead I had Braniac in the role of a sort of dark Jor El. The super intelligent Alien would inform Superman of his culture and and its eventual demise.

As for Braniac's character I depicted him as soft spoken, polite and world weary. Not a generic cackling villain but sort of pitiable, viewing his abducted specimens as family and professing his deep compassion for them, he wasn't so much evil as confused. Braniac truly believes that what he is doing is what's best for humanity as he views us as violent savages hellbent on our own extinction. This was to act as a counterpoint to Clark's optimism and faith in his adopted peoples potential for good.

For his physical depiction I departed greatly from previous renderings of the character. He wasn't human in appearance, boasting four arms and a more lupine face. His clothes were weathered and old adorned with souvenirs of long dead worlds. I wanted to give him the air of an ancient librarian.  The iconic green color scheme and the nodes on his brow remained but for the most part I played to the alien aspect of his character. 

Braniac's final confrontation with Clark high above Metropolis is what causes the last Kryptonian to finally accept his destiny and become Superman.

Now onto Darkseid.

Anyone familiar with my fake Dawn of Justice script will know that I hinted at the Lord of Apokolips as the villain of the future Justice League film, but I never showed him physically. While writing the screenplay I had a vague image of what I wanted Darkseid to be, his motivations and character, I never got around to writing the character. What follows is a description of how I would depict Uxas and like Braniac I will be taking artistic license.

First change I would make would be stature. This change is mainly to differentiate DC's villain from Marvel's Thanos. I don't feel we need another hulking Galactic power player on screen. While I and most comic book fans know that Thanos was a rip off of Darkseid, the majority of the movie going public would think the opposite if a faithful visual of Darkseid was shown in Justice League. Marvel got there first unfortunately and I think DC should adapt to counter this. My Darkseid would be tall, thin and lean a departure from the comic books broad shouldered behemoth. I'd have him almost gaunt but still strong. I would use Brad Pitt's Tyler Durden as a reference, wiry and quick. His appearance in the comics would be honored but his size decreased. I feel this would give him a more menacing look as it implies power but isn't obvious at first glance.

I believe his motivation should be the Anti-Life Equation and because of that he comes to Earth. The secret to his life's obsession lies in the minds of humanity which he plans to enslave so his can discover the truth of the Equation. Simple and effective in my opinion.

The biggest departure is his character. I would have him act more dynamic and younger than his comic book counterpart. As a New God, emphasis on the 'New', I see him as relatively young in his manner. While being millions of years old I would have him possessed of a more youthful exuberance, the kind of energy that would propel a being such as him to obsessively search for something as elusive as the Anti-Life Equation. He would be confident, self assured and dismissive of any and all challenges to his philosophy. And my Darkseid would be savage and have no regard of the consequences of his actions. He will do anything to achieve his goals no matter who stands in his way.

I feel this would be more than enough to differentiate Darkseid from his Marvel Comics counterpart. Familiar yet new, true to the essence of the character yet different enough to be a fresh.

This is just what I would do had I input into the DC cinematic Universe.

SoA.

The Flash 'City of Heroes' review.

                                                       MINOR SPOILERS AHEAD

I don't like voice overs, and the narration that begins the Pilot episode of the Flash is no exception. From the onset Grant Gustin's eager voice reminded me of Toby McGuire’s famous Spider-Man intro which I also disliked. So that was the first problem I had with the live action adaptation of the famous DC Comics speedster. Luckily, it was the first and only problem that I had with the Flash Pilot. I loved the Flash and I'll tell you why.

When I first heard that they were doing a spin off of the Arrowverse I wasn't entirely sold. Although I really enjoy Arrow I couldn't quite get behind the idea that the Flash could exist within its more grounded universe. The casting of Barry Allen didn't fill me with much confidence either. I was unaware of Grant Gustin prior and when I found out he was cast in the role I did some research and found he had a past role on Glee and honestly I'm not a fan of that show. I thought he looked a little too young and clean cut to play Barry how I envisioned him on screen but his appearance on Arrow changed my mind a little. He was likable and goofy but in a Peter Parker-esque way. He was fun in the context of Arrow but not exactly the Flash I had hoped for, even after the legendary lighting bolt origin I was still on the fence.

But after watching the Flash Pilot I am now completely sold. Gustin has all the warmth and charisma needed to keep the audience invested in his character. He's quirky, awkward and charming and inhabits the role with more confidence that he perhaps showed in the Arrow introduction. His journey into super heroics is fun to watch and it's all because Gustin is so endearing.

The rest of the cast play well in their roles. The beautiful Candice Patton as Iris West has an easy chemistry with Gustin and you can believe them, as friends, surrogate family and future couple. I genuinely felt for Barry as he watched her from afar and their unrequited romance works because both of the characters are so likable and played so well. Jesse L. Martin is great as Joe West, Iris' Father. He's a solid supporting character and his scenes with Barry do convey a father/son dynamic. Danielle Panabaker and Carlos Valdes are both on top form as Caitlin Snow and Cisco Ramon respectively. The names will be familiar to fans of the comics and I am looking forward to see where the show takes them and if they ultimately share the destinies of their comic book counterparts. Harrison Wells, the man behind the accident that gave Barry his powers, is played with dignity by Tom Cavanagh who along with Snow and Ramon make up the Flash's allies and confidant. The villain of the piece is Weather Wizard played by Chad Rook. In this interpretation his origins are tied to the same event that gave the Flash his abilities. He's a serviceable antagonist if not given too much screen time.

As for the story itself it is a basic superhero origin story and hits all the beats well. There is nothing really that interesting about it as it's nothing we haven't seen before. It's hero gets powers, hero learns powers, hero discovers villain, hero defeats villain and so on and so forth. It's generic but the performances and the production transcend the story lines limitations.

The production values are very and high and it feels like a superhero movie rather than Superhero TV show. The Flash costume looks great onscreen and the speedster effects are up to scratch. The Pilot is very polished and whether or not this carries over into the rest of the series remains to be seen but as far as the current superhero shows I'd place it at the very top as far as production.

For diehard comic book fans there are many Easter eggs and cameos littered throughout the episode, hinting at villains and story lines to come.

The episode's ending packs a surprising amount of emotional weight and you really do feel for Barry and his trails and tragedies. The Flash is off to an amazing start and I am incredibly impressed with the Pilot. The final scene by itself has me guaranteed to keep watching.

IMO Opinion it is the best Superhero Show on TV.

9.5/10

 SoA.

MARTIAN MANHUNTER: How I would approach the character in film.

First off I'm not here to bash David S. Goyer. I am a fan of his written work, Dark City is one of my favorite films, I love the first two Blade movies and I have often championed Man of Steel online . This isn't an attack on him as a person but I do have issues with his comments on Martian Manhunter, a hallowed character among comic book fans. Goyer's opinion on J'onn J'onzz's potential movie incarnation is completely off the mark and I offer this counter argument as to how we could see the famous character on screen. So here goes.

The first point I'll raise here is that outside of DC comics fandom J'onzz isn't well known so introducing him onscreen in his own film could seem problematic to Warner Bros. I'm sure people would put forth the Guardians of the Galaxy argument for introducing lesser know characters to the silver screen to successful results but let us put that argument in perspective. Marvel Studios is an already established brand with several high grossing, critically acclaimed and interconnected films in their output including two billion dollar earners. Marvel's risk was based on a steady foundation of previous success, DC/WB has at this time only MoS and the upcoming BvS in their cinematic Universe so I don't feel WB has the confidence to introduce Martian Manhunter as a standalone. For me the best way to introduce J'onzz in the Justice League movie. And here is how I would do it.

I will straightaway say that I would be taking some artistic licence with the origin of our beloved Martian hero, but not to the extent that Goyer proposed. I'm assuming that the main threat of the JL movie will be cosmic in origin, be it Darkseid or some other galactic menace and in that context I feel introducing J'onzz as a herald of the villain's impending attack. Goyer didn't think the Martian element of the character would translate to the screen and I have to disagree. The very nature of Mars, it's mystery, it's proximity to Earth, the theory that it was once a world like ours  lends very well to film. So taking that all in I would tie directly the destruction of Mars ancient civilization into the plot of  the JL movie and the villain that the team faces. Be it Darkseid, I would alter the history of J'onzz so as to give him a genuine hatred of the villain and want revenge for the destruction of his species by said galactic warlord. I would have J'onzz be the only survivor of the extinction  and have him flee to Earth and in the centuries in between have him utilizing his shape shifting abilities and hide among humanity up until his capture by a shadowy government organization where he will stay until the events of the Justice League movie play out. Upon being freed by the other members of the League he would become central in their struggle against Darkseid and cement his place within the DCCU, gain greater audience recognition and go on to star in his own solo movies to much financial success.

Now that is just one way to incorporate the character into the Cinematic Universe without completely disregarding his comic book history. While I concede some changed would have to be made, it is a necessary evil of most adaptations, the character himself can translate to the screen and still keep much of the elements that made the source material such a favorite in the first place. Martian Manhunter may seem hokey to the uninitiated, but if approached properly he can be as much a movie icon as the Trinity.

To me J'onzz is central to the mythology of the Justice League and if I were in charge of bringing him to the screen I would do me best to respect the source material despite Goyer's differing views.

SoA.

LOBO: DC's Cinematic Universe's first R-Rated Comic Book Movie?

R-Rated seems to be a dirty word in the world of comic book movies and as far as the studios are concerned a complete no no as regards their shared Universes. The reasoning seems purely financial related and I am not about to argue the fact, it is true that R-Rated movies tend not to generate the revenue of their PG-13 counterparts. But that said R-Rated doesn't mean unsuccessful. Let me give a rundown of three R-Rated successes and their grosses.

The Matrix Releoaded = 742,128,461 million worldwide.

The Hangover = 467,483,912 million worldwide.

300 = 456,068,181 million worldwide.

Now I know that the Matrix sequel benefited from being a follow up to a hugely successful first film, but it still stands that it took in huge revenue (the less said about the threequel the better) but the Hangover and 300 were successes based on both quality and word of mouth. The latter itself being a comic book adaption.

These are 3 examples of genre films that benefited from the rating as far as creativity and didn't suffer from it financially. Which brings me to Lobo. Lobo is a popular character among comic book fans for his ultra violence and humor and because of this I ask one question, does anybody really want to see a PG-13 Lobo movie? There is no doubt and audience that would like to see the character on screen but I doubt that they would like to see a neutered version lacking the characters trademark exaggerated bloodshed and adult themed content. I'm sure Warner Brothers is looking to exploit the character's popularity but I fear that in trying to reach a larger audience with a PG-13 rating they will completely miss the point of the character. I think the studio should go all out and make the movie that Lobo deserves. Any other way would result in failure.

There is another question that arises from the possibility of a R-Rated Lobo movie, can the character exist in the more family friendly DC Cinematic Universe. A lot of fans would love to see Lobo and Superman throw down on screen. Common logic would say an R-Rated film wouldn't allow for that, but that's not entirely true in my opinion. I ask instead, why not?

Lobo can be part of the DC Universe and still be R-Rated in his own films. The reason I say this is context. While MoS and the other DC Universe films will not show gratuitous bloodshed, nudity, strong language and sex that doesn't mean the concepts don't exist in that world those films just don't need to show it while Lobo can. His own solo films excessive content shouldn't negate his appearance in a JL movie in the future or exclude him from the expanded Universe. When he shows up in the more family friendly films he'll act in the context of those films. I actually believe this is a nice idea as a younger audience will be introduced to Lobo and then as they get older they will discover the real uninhibited Lobo in his solo films.

In short I believe I believe an R-Rated Lobo movie could be a success for Warner Bros as it could help further diversify their CBM output and set them apart yet again from their rivals, Marvel Studios.

SoA.

THE DC CINEMATIC UNIVERSE: How I would handle it.

What follows is a hypothetical plan for the DC Comics Cinematic Universe and how I would handle it. I'll be basing my opinions off the already established DC movie cannon I.E Man of Steel and Batman v Superman: Dawn of Justice and jumping into Justice League and beyond.

First off let me comment on Man of Steel. I for one believe that the character of Superman is a perfect choice to begin the journey into the broader DC movie Universe. Not only is it symbolic considering his status in the comics but the very nature of the character allows for all the weird and wonderful characters that follow. When we open up the window to the fictional world using such a spectacular character, he's a godlike alien, when we follow up with the rest of the roster it's quite easy to accept masked vigilantes, Amazonian Warriors and Atlantean Princes are a part of this world. If you can accept a man can fly and shoot fire from his eyes the rest, in my opinion, is easy pretty to swallow.

And then of course there is the tone. For me the film is grounded in a world familiar to ours yet fantastic enough for us to accept the otherworldly. Many fans have decried the somewhat sombre tone of MoS but for this comic fan and moviegoer I feel it is what will ultimately set it apart from it's nearest rival. I believe that this tone should be maintained throughout the connected movies. Whereas Marvel Studios is popcorn entertainment, that is not a slant as it's the formula that makes them billions, DC should be a more darker alternative. I'm not saying that it should be pitch black and super serious to the point of depression but its over all tone should be a counterpoint to Marvel or else they would be just trying to copy their formula and be derivative.

Contrary to many vocal opponents of the decision I think DC's choice of a Batman/Superman team up movie prior to JL and/or other solo outings is a astute move. Batman and Superman are DC's most iconic and well recognized characters and the absolute best way to open up the audience to the Cinematic Universe. Everybody and their grandparents know who Batman and Superman are even if they have never picked up a comic. Both characters are multimedia icons and therefore can be the audiences gateway into their world. Batman v Superman: Dawn of Justice can work two fold, bring in satisfy the fans and be a guide into the world established by MoS. In my opinion it is a perfect way to establish the Cinematic Universe prior to the Justice League film without several solo movies. We come to see these Iconic Heroes duke it out but along the way we learn about their world, I.E Wonder Woman, Aquaman etc etc.

But how to follow up?

Well the obvious answer is Justice League. Many people, including myself in my own fake script, believe the best way to get the League together is to face off against the most powerful of DC bad guys, DARKSEID. He's the obvious choice after all, a malevolent galactic conqueror with myriad powers and a vast army at his disposal and while I at first was all for seeing him onscreen battling the League I've had a change of opinion. I think the most suitable villain to get the League together would in fact be the villain that brought them together in the comics, STARRO. Not exactly everybody's first choice but let me explain.

Imagine this: We open above the Atlantic Ocean and from the Heavens we see a ball off flame descend crashing into the sea. We follow it down into the depths until we see the lights of a under sea city in the darkness, then we cut to black. Later we see Aquaman, beaten and bloody, emerge from the Ocean and call on his friends, Superman, Wonder Woman and Batman. His Kingdom has been taken over by a parasite alien which has multiplied and taken control of the minds of all his subjects. Soon we learn that cities all over the world are under attack by Atlantean forces who have grotesque starfish like creatures attached to their faces. One by one entire cities, Metropolis, Gotham, Central City, fall to the Atlanteans and the populations taken over by the parasites. Green Lantern comes to Earth to find the creature but realizes he may be too late. The Justice League comes together to battle the Alien Parasite who's followers include the very people the League has sworn to protect., the fate of whole world hanging in the balance.

The reason I would choose Starro is that a villain that could potentially take control of the most powerful beings on Earth and use them to do its bidding is very compelling. What would the League have to do should Superman come under its thrall? How would Batman deal with a possessed Alfred who is trying to kill him? What would Wonder Woman and Aquaman do in a scenario when they are faced with going to war with their own peoples? It's the Justice League vs The World.

Later on we can get to other Justice League villains and Darkseid. I imagine there will be a series of Justice League films there is no real need to jump straight into the New Gods.

I'm assuming that Warner Bros/DC are planning on spinning the solo movies off the JL film and I think that this is a great way to handle it. We've seen the League in action and now we will get to learn more about the individual members in their own solo adventures. Unlike their counterparts at Marvel I'd like to see each solo movie as a separate story. Know forcing of interconnecting plot lines or character cameos. Set them in the same Universe but not have them be burdened with establishing the next big story or continuity or character introduction. BvS and JL can do that job perfectly. The world has been established now focus on the characters.

The first solo movie I would like to see is Wonder Woman. The idea of Diana facing off against powerful Gods and Demi-Gods is exciting. I think they should use Azzarello's New 52 run as an inspiration for both tone and aesthetic but take ample amounts of material from her past incarnations. I would focus a lot on the magical elements and the world behind the world, I.E have the Mythological Greek Gods as actual Gods, not aliens or any inter dimensional life form BS. The reason I say this is that Wonder Woman can help set up the occult aspect and allow for the inclusion of characters like Constantine, Swamp Thing and Zatanna etc etc in future films. And of course Shazam.

Now there has been a lot of talk as to how exactly a character like Shazam can exist in the Universe established by MoS. Many people believe that the nature of the character doesn't allow for coexistence with Superman or Batman? To this I say... Why not? The idea of little Billy Batson becoming the worlds mightiest mortal by saying the word 'Shazam' may seem at first to be a little too out there for some but I think it can work. If you can accept Wonder Woman and her Amazons then Shazam fits too. I think what colors peoples opinion is the perceived lack of humor in MoS means that there can be none in Shazam should it be set in the same world. MoS and it's story didn't allow for lots of humor, dying planets, genocidal Kryptonians and cities being demolished aren't exactly a recipe for comedy but Shazam, being about a boy who becomes a super powered man, does. Billy Batson/Shazam could be used in the DC Cinematic Universe just like he was in Young Justice, endearing and funny but doesn't take away from the over all seriousness of the story.

For the next solo film I think the most intriguing prospect is the proposed Green Lantern/ The Flash team up movie. To some this idea seems absurd and unworkable but not to me. Its the buddy movie premise brought into the superhero genre. For example imagine the personality clashes of a smart ass Wally West and a more serious John Stewart. Just think of the potential of those two opposite personalities working together to bring down the Flash's Rogues who have been imbued with some sort of cosmic power/weaponry that is Green Lantern's reason for being part of the tale. Regardless of what story they use to bring the two together it's still an exciting premise.

Aquaman needs his own movie too and having him battle for the Throne of Atlantis seems to be the most obvious way to go. It would be amazing if instead of bringing him to the surface the story could keep him in Atlantis. I say set the whole movie entirely in Atlantis, that way the audience could be immersed in Arthur Curry's world and culture. Just think of how beautiful the Under Sea realm would look on screen in IMAX for example. It could be to the levels of Avatar in it's world building. Giant battles, bizarre creatures, epic struggles for power, and Aquaman solo movie could have it all.

And that's why doing the JL movie first is so smart. In that we can get to see the heroes in a relatable setting before delving deep into their own worlds and mythologies in their solo movies.

Running parallel with these big budget blockbusters I think WB/DC should produce a series of smaller movies like Suicide Squad and Justice League Dark. Quality mid budget films that while fleshing out the greater DC Universe tell unique stories not burdened by being connected to the stories JL and the solo films are telling. Set them in the world but let them be their own thing.

That's just how I would do it.

SoA.