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And somehow, much to my surprise, the on-the-nose nature of the film is superseded by the sheer entertainment value, especially the action scenes.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

Andrew Garfield leads peasant rebellion in medieval film The Uprising

Alex Bentley
Sep 10, 2026 | 12:15 pm
Andrew Garfield in The Uprising
Photo by Betina La Plante/Focus Features
Andrew Garfield in The Uprising.

Writer/director Paul Greengrass made his name with a cinéma vérité style of filmmaking that brought immediacy and depth to three Jason Bourne films, United 93, Captain Phillips, and more. In The Uprising, he uses those skills to tell the story of the so-called Peasants’ Revolt in 14th century England.

Greengrass wastes no time starting the main plot as Ploughman (Andrew Garfield) and his fellow villagers object to onerous taxes put on them by the country’s nobility, led by the young King Richard II (Woody Norman), to fund an ongoing war. Ploughman initiates a violent response over the tone-deaf — and unseemly — way the king’s guard go about their business, and the rebellion soon starts to spread across the countryside, with the citizens looking for a degree of autonomy.

The ever-expanding group makes their way toward London to try to make their case to the king himself. Meanwhile, the king’s top advisors, including Archbishop Sudbury (Stephen Dillane) and Treasurer Hales (Tom Hollander), try to usurp power from the inexperienced monarch even as the king’s mother (Katherine Waterston) tries to get him to be more assertive.

The history of the English monarchy is long and lurid, as Shakespeare detailed in multiple plays, including Richard II. Though the events in the film took place almost 650 years ago, it’s easy to see parallels between what the peasants were fighting for and modern-day politics. Greengrass’ storytelling intent is solid, and the righteous anger the citizens feel is initially relatable and palpable.

But the populism theme of the story soon gets bogged down in drudgery and minutiae that is difficult to understand, especially when the details are lost in the thick regional English accents. The leaders of the rebels — including John Ball (Jamie Bell), Wat Tyler (Cosmo Jarvis), and Alyce (Thomasin McKenzie) — are shown doing a lot of planning, but the strong feelings they have about their quest don’t come across well, leaving the audience as passive observers.

When there is action, Greengrass and his team employ a frenetic style that is not great for comprehension. While the gist of what is happening and what side is winning is legible, individual moments go by so quickly so as to be nearly meaningless. Save for Ploughman, any connection that has been made with various characters proves futile, as Greengrass doesn’t seem to have any time for emotion. Scenes that should feel thrilling or heartbreaking instead come off as empty.

Garfield is a two-time Oscar nominee who has done great work across multiple genres. He’s fine in this role, but whether it’s the story, the filmmaking, or something else, he’s not as captivating as usual. The same goes for other strong actors like Bell, McKenzie, Dillane, Hollander, and Waterston, who each seem to be giving their all to their performances but are somehow muted in the process.

Done right, The Uprising could have been a rip-roaring account of people standing up against their oppressors. What Greengrass has made, though, is a film that can’t translate its medieval story for a modern audience and concentrates too much on unexciting elements and too little on thrilling ones.

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The Uprising is now playing in theaters.

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