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    Super Superheroes

    Batman v Superman reaches super status with knockout action

    Alex Bentley
    Mar 25, 2016 | 12:00 am
    Batman v Superman reaches super status with knockout action
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    Prior to seeing Batman v Superman: Dawn of Justice — and can a brother buy an “s” or a period for that title? — I was skeptical. Could director Zack Snyder and his filmmaking team make a coherent narrative out of their bald-faced attempt at keeping up with Marvel in the ongoing war for your moviegoing dollars?

    The previous Superman movie, Man of Steel, was tone-deaf, laying waste to much of Metropolis and its residents without so much as a second thought. Ben Affleck’s taking over Batman’s cowl and cape from Christian Bale is also questionable. Could they really overcome their previous missteps and deliver an entertaining film?

    The answer is yes, with a few caveats. Snyder and screenwriters Chris Terrio and David S. Goyer have created a world in which a rivalry between the two superheroes at least makes narrative sense. In fact, Batman’s anger at Superman (Henry Cavill) almost seems to be an apology from Snyder for Man of Steel, as it stems from Superman’s climactic fight with General Zod (Michael Shannon).

    There’s little nuance to anything in the movie, as the filmmakers prefer to show their cards up front and let them fall where they may. Explanations for everything from Batman’s dinosaur voice to how close Metropolis and Gotham City are to each other are laid bare, leaving little mystery to anything in the story.

    With multiple characters to serve, including Lois Lane (Amy Adams), Lex Luthor (Jesse Eisenberg), and Diana Prince/Wonder Woman (Gal Gadot), the danger existed that there would be too much going on for the film to be enjoyable. But the filmmakers keep things relatively simple, and the performances by the main actors are more than enough to sustain momentum.

    The simplification of the plot does lead to more than a few “just go with it” moments, as characters luckily — magically? — turn up at the right place at the right time. But because it is a superhero movie, you need to be willing to turn up your sense of disbelief if you’re going to get any enjoyment out of it at all.

    And somehow, much to my surprise, the on-the-nose nature of the film is superseded by the sheer entertainment value, especially the action scenes.

    Two elements in particular stand out. Eisenberg is perfectly cast as Luthor, giving him an uneasy smarminess that makes the character one of the few reasons to smile in the movie. Meanwhile, Gadot doesn’t get a lot to do, but when it comes time for her big moment, it’s as iconic an entrance as anyone could hope for, replete with her own rockin’ theme music.

    As for the two big guys, both Affleck and Cavill give solid, if not earth-shattering, performances. They’re hamstrung a bit by the limits of the story and their characters, so there’s never a feeling of rooting for one over the other. But they do nothing to embarrass themselves and prove that their continued inhabitation of the roles should be something to anticipate, not dread.

    Yes, Batman v Superman is almost unrelentingly dark, making the two-and-a-half hour movie tougher to get through than the lighter-toned Marvel movies. But it ultimately earns its superhero stripes thanks to great performances and some truly knockout action scenes.

    Ben Affleck and Henry Cavill in Batman v Superman: Dawn of Justice.

    Ben Affleck and Henry Cavill in Batman v Superman
    Photo by Clay Enos/ TM & © DC Comics
    Ben Affleck and Henry Cavill in Batman v Superman: Dawn of Justice.
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    Movie Review

    Film sequel Avatar: Fire and Ash is a technical and visual feast

    Alex Bentley
    Dec 18, 2025 | 3:15 pm
    Oona Chaplin in Avatar: Fire and Ash
    Photo courtesy of 20th Century Studios
    Oona Chaplin in Avatar: Fire and Ash.

    For a series whose first two films made over $5 billion combined worldwide, Avatar has a curious lack of widespread cultural impact. The films seem to exist in a sort of vacuum, popping up for their run in theaters and then almost as quickly disappearing from the larger movie landscape. The third of five planned movies, Avatar: Fire and Ash, is finally being released three years after its predecessor, Avatar: The Way of Water.

    The new film finds the main duo, human-turned-Na’vi Jake Sully (Sam Worthington) and his native Na’vi wife, Neytiri (Zoë Saldaña), still living with the water-loving Metkayina clan led by Ronal (Kate Winslet) and Tonowari (Cliff Curtis). While Jake and Neytiri still play a big part, the focus shifts significantly to their two surviving children, Lo’ak (Britain Dalton) and Tuk (Trinity Jo-Li Bliss), as well as two they’ve essentially adopted, Kiri (Sigourney Weaver) and Spider (Jack Champion).

    Miles Quaritch (Stephen Lang), who lives on in a fabricated Na’vi body, is still looking for revenge on Jake, and he finds help in the form of the Mangkwan Clan (aka the Ash People), led by Varang (Oona Chaplin). Quaritch’s access to human weapons and the Mangkwan’s desire for more power on the moon known as Pandora make them a nice match, and they team up to try to dominate the other tribes.

    Aside from the story, the main point of making the films for writer/director James Cameron is showing off his considerable technical filmmaking prowess, and that is on full display right from the start. The characters zoom around both the air and sea on various creatures with which they’ve bonded, providing Cameron and his team with plenty of opportunities to put the audience right there with them. Cameron’s preferred viewing method of 3D makes the experience even more immersive, even if the high frame rate he uses makes some scenes look too realistic for their own good.

    The story, as it has been in the first two films, is a mixed bag. Cameron and co-writers Rick Jaffa and Amanda Silver start off well, having Jake, Neytiri, and their kids continue mourning the death of Neteyam (Jamie Flatters) in the previous film. The struggle for power provides an interesting setup, but Cameron and his team seem to drag out the conflict for much too long. This is the longest Avatar film yet, and you really start to feel it in the back half as the filmmakers add on a bunch of unnecessary elements.

    Worse than the elongated story, though, is the hackneyed dialogue that Cameron, Jaffa, and Silver have come up with. Almost every main character is forced to spout lines that diminish the importance of the events around them. The writers seemingly couldn’t resist trying to throw in jokes despite them clashing with the tone of the scenes in which they’re said. Combined with the somewhat goofy nature of the Na’vi themselves (not to mention talking whales), the eye-rolling words detract from any excitement or emotion the story builds up.

    A pre-movie behind-the-scenes short film shows how the actors act out every scene in performance capture suits, lending an authenticity to their performances. Still, some performers are better than others, with Saldaña, Worthington, and Lang standing out. It’s more than a little weird having Weaver play a 14-year-old girl, but it works relatively well. Those who actually get to show their real faces are collectively fine, but none of them elevate the film overall.

    There are undoubtedly some Avatar superfans for which Fire and Ash will move the larger story forward in significant ways. For anyone else, though, the film is a demonstration of both the good and bad sides of Cameron. As he’s proven for 40 years, his visuals are (almost) beyond reproach, but the lack of a story that sticks with you long after you’ve left the theater keeps the film from being truly memorable.

    ---

    Avatar: Fire and Ash opens in theaters on December 19.

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