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Interview with Steve Pigeon

By Michael Calleri



"Batman v Superman: Dawn Of Justice” could also be called “Movie Director Versus Style, Cohesion, Simplicity, Common Sense, and Believability.”  

A chorus of critics and moviegoers have attacked the movie for being a mess. No spoilers herein, but as someone has already written: "there's nothing to spoil."

Here are my thoughts. To the use of the word "mess" you can add: cinematic atrocity, utter catastrophe, bewildering stupidity, and an assortment of whatever negative words and phrases you like. 

"Batman v Superman" is brutalist cinema, a mean-spirited pile of shallow, derivative, and cheap-looking distortions. Director Zack Snyder quickly stifles your enthusiasm, as well as your eagerness to be entertained.

The overlong film speaks more to Snyder’s fetishes than to anything else. Sigmund Freud would get an entire book out of Snyder's pathetic neuroses and selfishness. The fragmented film is thematically and visually dark. In fact, it's almost morose. It panders to a place in somebody's soul they shouldn't want made public.

It’s the fetishism that helps send “Batman v Superman” careening into chaos as Snyder links his fetishistic impulses to his call for a New Comic-Book Movie Order. The director wallows in a celebration of Fascism, the dark demand that a person or movement’s authoritarian practices are essential to ridding a society of enemies and holding down the population, usually with fear and mayhem.

Snyder has applied a sense of tone to his effort directly from “The Night Porter,” a feature that celebrates the sexual undercurrent of fascism. In “Batman v Superman,” tight uniforms are a visual reminder of power. Bodies glisten as muscular, shirtless men are hung from a hook and tortured.

Snyder’s Batman is a fascist. He dresses like a monolith; his costuming is rigid, heavy; less blue than that of a hardened black-shirt from another era. Batman’s actions are dangerous and abrupt; his dictates fierce and unrelenting. The character’s single-minded desire is to remove Superman from the equation because the “man of steel” threatens Batman’s governing principles. 

The movie has minimally interesting acting from everybody in it. I didn't think Henry Cavill (Clark Kent/Superman) could be any more wooden an actor than he has been. I was wrong. Ben Affleck (Bruce Wayne/Batman) obviously understood the apparent direction to make a sad face every second he's on-screen. Amy Adams as Lois Lane lacks spunk. She says spunky words – "I'm not a woman, I'm a journalist," for example, but the heavy-handed atmosphere of the entire production stifles her energy.