Tag: superman

Superman II (1980)- When Director’s Cuts Actually Matter

AdamLeave a comment

Director’s cuts for films tends to be a big talking point nowadays with film discourse. Whenever a highly beloved/controversial director takes their jab at directing a film from a well-known IP, questions always spur online about how much of the finished product is actually theirs to behold. Was the finished film one in which the director themselves had in mind from the start or is it just what the higher ups at the studios wanted it to be? With studios and producers having more a say on a final film product than ever before, that question tends to get ask every time a big film comes out when it lacks overall quality!

Of course, there is no director more famous/infamous with only being able to get the exact vision they intended with a film than Zack Snyder. Nearly EVERY single time a film of his has come out and it’s not well received by critics or general audiences, the immediate reaction from Snyder and his fanbase is ALWAYS about how his original cut was much better and you need to watch that in order to get the full satisfying motion picture. From Watchmen to Batman V Superman: Dawn of Justice to Justice League to new Rebel Moon movies, there is no one that loves the word “Director’s Cut” more than Zack Snyder himself. Although I will be talking about his full director’s cut of Batman V Superman and Justice League later on in the marathon, it does give the indication as to how much someone’s opinion on a movie can change drastically when they see what the person behind the camera intended all along.

However, there are some instances where director’s cuts tends to be VERY complicated. Not necessarily that the entire quality of the motion picture changes on a dime but the way that a certain director decides to tell the exact same story in an entirely different way than someone else does. And this exact example I will be talking about today is no other than with Superman II.

As you could tell based off the title of this piece and my intro, Superman II featured a lot of different changes from both the original 1980 film and it’s sequel. After the massive success of Superman: The Movie, Warner Bros demanded a sequel ASAP. However, the production of it’s sequel went through it’s fair share of shake-ups, controversies, and mass difficulties in getting a quality product in theaters and even when it came out of theaters. Because of all this and more, Superman II was the product of two different directors, Richard Donner and Richard Lester. Yes, both directors have the exact same first names. I do NOT believe that was a coincidence whatsoever.

Following the success of the 1976 film The Omen, Donner was hired by WB to direct the original Superman movie along with it’s sequel. And to make sure that deal would be met, both movies would be film back-to-back simultaneously. However, tensions arose between Donner and the producers behind the films, particularly the father-son duo of Alexander and Ilya Sakling and Pierre Spengler. From clashing visions to scheduling conflicts, things became a mess from behind the scenes. It got so bad that the producers decided to bring in Richard Lester as a “co-producer”, A.K.A. a back-up director, and basically told Donner to just finish the first film and let them deal with finishing the second film. After Superman: The Movie became the hit that it did, the production of Superman II resumed but with Lester now behind the camera. Although, Donner had already shot 70% of the film, Lester had to go back and reshot much of the film, radically changing the tone and several sequences, just so he could get full director’s credit for Superman II.

So, yeah! That was quite a chaotic history involving the making of the second cinematic installment involving the man of tomorrow! Although Lester’s version ended up being a box office hit with a mostly positive reception, interest grew of what Donner’s original version of Superman II was like. And considering we were now starting to enter the era of DVDs and re-releasing films with extended or director’s cuts, what better time than any to release a cut of Superman II in which Richard Donner had his full name on the cover.

Unfortunately, despite high demands and a fan campaign asking for Warner Bros to release the Donner cut for the film’s 25th anniversary, they were unable to do that because of complicated reasons. With circumstances such as Marlon Brando suing the studio over royalties, which prevented his likeness being used, Richard Donner having never completed actually filming the whole movie, and the man behind the camera himself admitting he didn’t really have an interest in releasing one, it seemed highly unlikely that it would ever see the day. However, by the time 2006 came around, things changed and the studio actually gave into the demand, releasing the “Donner Cut” of Superman II on DVD.

While the Donner Cut was being assembled, an attempt was made to restore as much original footage of Donner’s original vision as possible. After all, some of Lester’s footage was needed to make the story feel actually coherent, being able to fill in the leaping gaps and create a proper bridge between Superman: The Movie and Superman II. Even though he wasn’t able to save his 100% vision due to the film being WAY too late to go back and reshoot, Superman II: The Donner Cut still remains one of the more unique director’s cuts of any mainstream film that has ever been released.

Instead of feeling like a complete finished film, it comes across as more of a “what if”. What if Richard Donner had full control from start to finish? What if he was able to film the two movies back-to-back fully like he intended? Well, the answers we got to those questions involves a director’s cut of Superman II that features several major differences from the film that was released in theaters back in the early 1980s.

Because of that, let’s take a look at some of the key differences between The Donner Cut and the Theatrical Cut.

More Sincerity, Less Comedy

Richard Donner has always viewed Superman as a modern mythology. Because of that, Superman: The Movie and his cut for Superman II reflected that, with a more serious approach to it’s subject matter and means of telling it’s story. Sure, the film definitely contains enough of a sense of humor, especially when compared to say…..Zack Snyder’s Superman, but for the most part, it’s a more serious, albeit sincere tone throughout the entire film. With Lester on the other hand, it was quite different. You have all the funny business with Lex, Non, the evil Kryptonian that doesn’t talk, acting like an overgrown baby, shots of civilians in the city during the final battle, one which involves a guy with roller skates and another guy talking on the phone, and the Kryptonians putting their faces on Mount Rushmore. Donner, on the other hand, cut most of the jokes that he probably felt cut the tension with each individual sense and just got right into the meat of them.

While I’m fairly certain this is more of a studio mandate rather than what Lester wanted personally, I say I prefer Donner’s take on what the tone of the film should be here. I like how he decided to take things more seriously without going too far and be able to incorporate a sense of humor when the film requires it. I guess we now know which superhero film to ACTUALLY thank for all that awkward humor that’s always thrown into every MCU film since 2012!

More Epic In Scale, Less Action

Just like the first thing, I imagine this was more of a decision from the studios to add more action scenes into the theatrically released film and less so on the director himself. Warner Bros craved to add in more action into the picture and less of the slower moving parts with certain scenes being too stretched out. Because of that, we get more mythical Normal Rockwell-esque Visuals with the Donner Cut and less of that mythical cinematography in Lester’s cut. And also because of that, we get more added in action in the theatrical version compared to Donner’s version.

The biggest example of this comes with the big fight in Metropolis between Zod, his minions, and Superman. This is a fight that ends with Superman running away and luring them to the Fortress of Solitude. From there, Superman tricks them into depowering themselves by reversing the effects of the crystal chamber. In the Donner version, it cuts right to this bit. In the Lester version, there is an additional fight scene added in the Fortress of Solitude first.

While I can understand the crave for more action in your Superman movie, the way that Lester went about to get more action really devoid the film of eternal logic. The Evil Kryptonians can now just suddenly teleport and shoot energy beams while Superman is now able to create holographic duplicates of himself. Not to mention, the bizarre power when Superman peels the “S” off his costume and hurls it onto Non like a big blanket. I like action but not if it comes at the cause of the actual quality of the film. Because of that, point goes to Donner here!

More Music From Superman: The Movie Instead of The Score From Superman II

As if the clash over Donner and the producers wasn’t insane enough, a similar thing happened in the production for Superman II with the legendary John Williams. While he was originally slated to score Superman II, Williams ended up getting into a feud with Lester after Ilya Salkind left the projection room. When he returned, John told him that he couldn’t get along with Lester and exited the film. To take his place, Lester brought in his frequent composer Ken Thorne. Because of that, Lester’s version offers a much different and more energetic score this time around, feeling like a composer’s own vision instead of trying too hard to match Williams. However, in Donner’s version, he reuses most of William’s score from the original film instead of using Thorne’s score from the original theater cut.

While I hate the circumstances leading to the situation, I give credit to Lester for being able to make the soundtrack work and feel like it’s own thing compared to the first film. No one is ever gonna top John William’s magnificent Superman theme from the original but the score here works well enough. And while I can definitely see why Donner would prefer to do more of William’s score instead of Thorne, you do get a sense that some of the tracks don’t match certain scenes the way they should and comes across as being overedited sometimes.

More Rough Around The Edges

This difference is a bit obvious but Lester’s version certainly feels more like a complete vision than with Donner’s. While The Donner Cut offers an interesting look of Superman II from the man that made the original such a classic, it doesn’t come off as a finished product. Had Richard been able to complete the Superman sequel that he started back in 1979, it would’ve certainly looked much better. However, with The Donner Cut that released back in 2006, it is simply the best he could do over 25 years later. Much of Lester’s footage remains in the film because it was needed to tell the full story, with a bit of jarring test footage in the middle from Donner thrown in for good measure.

While we’ll never know how a 100% version of Superman II would’ve looked like under Richard Donner, he still did the best with what he could do given the minimal material he had left to work with decades later. Even if I do like most of Donner’s ideas more, I do think by the end, Lester’s film ended up with the superior film, largely due to the fact that it feels the most complete and finished.

More Lex Luthor

Once Lester came on board to do reshoots for Superman II, Gene Hackman was reluctant to do any of them without Donner. Because of that, Lester could only use what Donner already had with Lex Luthor and just roll along from there. He had just enough of Lex to tell story and nothing more. In the Donner Cut, Luther is given a slightly bigger role than before. With more emphasis on the funny business with Lex and his co-workers, Hackman is given a bit more of a screen presence than he did in the original theatrically released version.

While I still wish Hackman was given more to do as Lex this time around, I’m glad Donner was able to salvage what he could and have Luthor contribute a bit more to the plot than he did with Lester’s cut.

Lois Lane Is Much Smarter

Lois Lane is a very smart character, perfectly matching the wits and skills of her counterpart, Clark Kent. So much so that Lois is able to discover the realization that Clark Kent is indeed Superman himself, something which no one else was able to do. At the end of the original film, Lois briefly notices the resemblance between Clark and Superman but just hand waves it off. In Donner’s version, this thread immediately continues with Lois scribbling some glasses on a picture of Superman, realizing that Clark Kent and Superman might just be the same person. To prove this claim right, she jumps out a window of the building of The Daily Plant to make Clark save her. But Clark is able to convince her that he isn’t Superman. Once the two are at Niagra Falls, Lois spots Clark without glasses and yet again suspects that he is Superman. Later at the hotel, Lois shoots a bullet from a gun right at Clark Kent, which nothing happens. After that, Clark admits that he’s Superman and Lois admits that the gun only had blanks. In Lester’s version, the first time that Lois suspects that Clark is Superman is at Niagara Falls. It’s only when they are at the hotel, Clark drops his glasses into a fire and retrieves it without burning himself, revealing to Lois that he is Superman.

Both of these takes work in their own right but I find myself leaning more towards Donner’s version here. With the way it builds upon Lois flirting around with the fact that Clark Kent and Superman might be one of the same from the first movie, Donner’s feels more of an organic follow-up to Lois’s development. Although, Lester’s version looks much better since Donner never actually got to film the scene in the hotel. Instead, he had to set for a repurposed test footage with Christopher Reeve and Margot Kidder respectively. While it works fairly well, the sound and performances do feel off and the continuity doesn’t mix and mash with the rest of the film.

Marlin Brando Returns

In the Donner Cut, Marlon Brando returns as Jor-El where he basically plays the same role he did in the first film. He mostly acts as a driving force for Kal-El, offering guidance to his own son beyond the grave. In the Lester Cut, Jor-El was replaced by Superman’s mother, Lara, played by Susannah York. The reason he doesn’t show up in Lester’s version is because after Superman: The Movie became a massive success, Marlon Brando sued the producers because he was owed nearly 12% of the box office revenue. Because the studio refused to pay him for any of the box office revenue for the sequel , Brando’s scenes had to be reshot in the theatrical release with Lara instead. Thankfully, Warner Bros was able to work out a deal with Brando to put himself back in Donner’s version.

Giving the circumstances, I think Lester did very well with what he could do. Plus, it did make sense to have Superman’s mother be a guiding force for him in his version, while the original film had Superman’s father play that same role. I don’t mind either one here but I do wish for an outcome that had both of Superman’s parents acting as that special emotional support for their son beyond their death. When thinking about what would act as a proper mirror of the original, I’d say Lester wins here. When it comes to acting as a part of Clark’s development here, I would probably go with Donner here.

Zod And His Crew Escape In Different Ways

In the Donner cut, the movie starts with a recap of the previous film, which ends with Superman carrying a nuclear missile out int space. It’s the shockwave from that missile that hits the Phantom Zone prison and allows for the evil Kryptonians to escape. In the Lester Cut, Superman stops a terrorist attack in Paris by tossing a hydrogen bomb into space, which frees the evil Kryptonains.

It’s mostly a minor difference but Lester’s cut at least gives Superman an actual reason to throw yet another bomb into space, just like he did at the end of the previous film. And with the way both cuts recaps the begin of the previous movie, Donner’s version does better at showing how exactly the events from the previous movie leads into it’s sequel. Unlike with Lester’s version, which comes across as more of a prologue read by the narrator of a tv show, telling viewers what happened in last week’s episode. Tough call, but I give the slight edge to Donner on this one, with at least having the beginning feel more consistent with the previous film.

Why Superman Gives Up His Powers

In both versions, Superman gives up his superpowers to be with Lois Lane. In the Donner Cut, Superman admits to himself and his father Jor-El that while he’s being selfish, he just wants to relax and be happy with another woman. His father argues that his son can NOT favor one human over the rest of humanity. Feeling he can no longer serve humanity in an objective way that would make his parents and himself proud, he gives up his powers. In Lester’s cut, Superman talks with his mother Lara instead. The conversation is much shorter, with Lara telling her son that if wants to be a mortal, then he must become one.

If we are looking through the perspective of what’s the right thing for Clark Kent himself to do and he achieves it, then Lester’s cut wins here. If we are looking through the perspective of what’s the right thing for Kal-El himself to do and he does the exact opposite of that, then Donner’s Cut wins. For the benefit of Superman’s overall arc in the film, I give this one to Donner!

No Magic Kiss

And lastly, the magic kiss is NOT presented in the Donner Cut. In Lester’s Cut, Superman II ends with Lois’ memory of knowing Clark Kent is Superman is wiped away in the form of a magic kiss. However, with the Donner Cut, Lois’ memory gets wiped by Superman flying around the world and rewinding time back before Lois figured out he was Clark Kent. It’s basically the exact same ending as Superman II except nearly the whole movie gets reverted back to square one.

As much as both ending come off as cheap plot gimmicks and glorified deux ex machina, I honestly believe Donner’s version is even worse, making the whole film feel like it never happened and undoing all the character progression like it’s some glorified Saturday Morning cartoon that prohibits progression in it’s story. The magic kiss is cheesy but I’ll still take that over a lazy rehash of the ending of the first movie.

I think you can now see why your experience with Superman II can be quite different by watching both of these cuts on their own terms! And that’s not even going into the two other notable cuts of this movie: 1.) the fan edited version that combined the best of both Donner and Lester while trimming the notable fats from both version and 2.) the ABC televised version that added 19 minutes of footage to the theatrical release, including alternate scenes involving Lex Luthor and an alternate ending. When putting all of that together, there’s not just one, not two, not even three, but FOUR different versions of Superman II you can watch. Not even Zack Snyder can dream of having THAT many cuts for just one feature film!

I will say despite the two different versions of Superman II that I’ve seen, my opinion on the film is largely the same. In the sense, that it’s a very, VERY good sequel that perhaps falls JUST shy of the greatness the original film had, largely due to these conflicting directorial visions, confusing character motivations, and feeling the need to pull it’s punches more times than not. Even so, I will say that I still would consider it to be the second best Superman movie to date (unless my rewatch of Man of Steel or Zack Snyder’s Justice League changes my mind).

Had we got one complete version from either Richard Donner or Richard Lester from beginning of production to the very end, then I think we could have gotten a perfect follow-up to Superman: The Movie, acting as that perfect two-part story figure that Christopher Nolan got superbly right with Batman Begins and The Dark Knight many years later. Instead we can only imagine what would’ve happened if either one of these gentlemen got both of their hands on this sequel from the very start!

Next Up: Superman III

Superman (1978) Retrospective: The Birth Of The Superhero

AdamLeave a comment

If there is one film medium that has been a dominant force for the 21st century, that would be comic books and superheroes. While we are now living in an era where this subgenre of movies is not as strong as it was in the previous two decades, there is no denying that they have changed the way that blockbusters have been made for the past 25+ years. However, even before the likes of the Marvel Cinematic Universe, Christopher Nolan’s Batman trilogy, and the multiple DC Cinematic universe attempts, even before the likes of Blade (1998), X-Men (2000), and Spider-Man (2002) rolled around, and even before Tim Burton’s or Joel Schumacher’s Batman made their ways onto the scene, there was one superhero movie that stood proudly on his own. Not only working as a near perfect example of what a superhero movie should consist of but it set the template and tropes on how a superhero movie or even a blockbuster in general should operated. That one film I’m talking about is no other than Superman (1978), directed by Richard Donner and played by the OG Superman himself, Christopher Reeves.

This was the superhero movie that changed everything! It proved that a film based off of a comic book superhero can work and translate onto the big screen as well as it possibly can. It proved that big cinematic experiences of this kind can be just as compelling as say a giant space opera or an intense thriller involving a big shark (Bet you can guess which two blockbusters I’m referring to from back then!). And most importantly, it proved that comic books and superheroes can shine a very bright light on pop culture, telling stories with impactful themes and unforgettable role models that anyone can look up to (No pun intended!)!

This was the birth of the superhero genre!

This is Superman (1978)!

To prove that this was indeed the one film that started this ongoing superhero movie trend, I decided to name six distinct tropes that this film laid out which is still being followed up to this day. Even nearly 50 years after Superman (1978) came out, these are all common beats you still see in superhero films to this day. Heck, I wouldn’t be surprised if we see some of/if not all of these with James Gunn’s Superman come July. Nevertheless, here are the six common tropes and cliches with superhero movies that Superman (1978) started.

1.) Origin Story

When it comes to the first chapter of a superhero story, it usually starts off with showcasing their origins. This is the part of the story where you find our where exactly the titled superhero came from, who gave birth to them, and how they got their powers and became the actual titled superhero. It’s become such a staple at this point that folks will call blasphemy if a certain version of a comic book superhero does NOT contain the origin in some way, shape, or form. No matter how many different stories we get off Spider-Man or Batman, we ALWAYS need to see Uncle Ben and the Waynes being shot in cold blood.

In the case of Superman, his origin involves his biological parents, Jor-El and Lara Lor-Van, sending him off to Earth while his home planet Krypton is on the verge of collapse. Clark is then discovered in Kansas by Jonathan and Martha Kent, who would adapt him and raised him as their son. It’s doing this sequence where Clark must discover what he was destined to be by his own mother and father, while learning what it means to live among the human beings on Earth by his adoptive mother and father.

This is a nice origin story that is able to be more about being an outcast rather than just a traditional “fish out of water” story. This is about Clark Kent learning to blend in with a brand new home not just as Clark Kent himself but as Superman. And even with all the criticism and rejection among the public, he still wants to do what is right. He wants to be the hero that his birth parents always envisioned of him. He wants to save people’s lives while stopping those that put them in harm’s away. And most importantly, he just wants to do good things for the goodness of mankind. Regardless if he will do it in a legal or illegal way, he is determined to be a hero at all costs, regardless of what the public thinks of him.

While the 1/3rd of this movie does take it’s time on establishing the origins of Clark Kent’s transformation into Superman, it is important to always showcases the answers to the questions that anyone might have about it’s title hero. Whether it’s like a traditional first installment with a superhero that spends the first half establishing the hero’s origin story (Spider-Man (2002), Batman Begins, Iron Man, or Captain America: The First Avenger) or uses an opening sequence or flashbacks scenes to establish their origins (Batman (1989) and The Incredible Hulk), showcasing a superhero’s origin is always urgent in order to get audience’s connected with the hero’s journey. While I can’t say for certain, I guarantee that the origin of a superhero would not be as much of a staple as it is if it weren’t for this film showcasing these exact important events.

2.) Secret Identity

A usual key component for a superhero story is with the main superhero having to keep their identity a secret. There are always exceptions such as when Tony Stark revealed his true self at the end of Iron Man or Diana Prince always representing Wonder Woman but more often than not, these are usually stories about the main superhero having to learn to keep their superhero life a secret and finding room to focus on their normal, everyday life. You have Peter Parker who has to learn how to balance himself between being Spider-Man and Peter Parker, you have Bruce Wayne needing to let his playboy billionaire side shine in the day and his crime fighting vigilante side shine in the night. In this case, we have Clark Kent needing to keep Superman and Clark Kent as two separate identities.

Of course, the main jab at Superman is how it’s unfathomable how anyone can’t tell the difference between Clark Kent and Superman because they both look exactly the same. Like, all you need to do is remove the glasses and you can see it’s literally the exact same person. How can a superhero who is trying to protect his secret identity do so by basically hiding in plain sight? That is a question with Superman that I thought about for years and could never find the answer to. That was until……I saw Christopher Reeve’s performance.

The main aspect that makes Reeve’s performance stand out perfectly as both Clark Kent and Superman is the fact that they feel like two completely different people when you watch them. As Clark Kent, he’s the typical nerdy, awkward man who is a bit of a dweb that is the last person you would ever expect to be a superhero in red and blue pajamas. As Superman, he’s this brave, heroic figure that you would never suggest could be some weak, submissive geek that lets his female co-worker fight his battles for him. I’m pretty sure if you asked Clark Kent in real life that he looks just like Superman, he would be able to PERFECTLY convince you that he is NOT Superman and just said, “Yeah, I guess that’s true! But I assure you, I am NOT him!” All you had to do is see how Clark Kent and Superman act so different in each scene and how perfectly Reeves is able to make them both convincing as two separate characters!

You are lying to yourselves if you ACTUALLY believe these two guys could be the exact same person if you just judge based off their appearance and personality and NOT just looks.

The secret identity tends to play a big role in most superhero movies, especially with origin stories, but I don’t think there has been a superhero movie that’s been able to capture just exactly what it means to be an average everyday joe to being the world’s biggest savior than with Superman (1978). A story which sees a man has to convince that his personal self and superhero self is NOT one of the same despite looking exactly alike. And this is in large part thanks to Christopher Reeve’s pitch perfect portrayals as both Clark Kent and Superman respectively.

3.) Love Interest

Of course, you can’t have a traditional superhero story without a traditional love interest. This is usually always added to give a story a bit of an emotional anchor and give motivation for the main superhero to do what he does. There are times where it can fall into some pretty infamous tropes. From being a constant damsel n distress to acting as a “trophy” for the main hero to getting the “fridge” treatment, this can be seen as the weakest part of the story if you are not too careful and learn too much into one of these tropes. There’s only so many times where people want to see Gwen Stacy die so Spider-Man can be sad only to get replaced by a love interest that’s hotter but much more blander (*cough* Mary Jane Watson *cough*). Thankfully, Superman (1978) is able to find a love story that works quite fondly with Superman and Lois Lane.

To be sure, it does involve Lois Lane having to be saved at least a few times by Superman. There are two notable moments of that, from falling off of a building and another instance that will be discussed later on. However, that doesn’t change the fact that Lois is a strong character in her own right and can even being seen saving Clark Kent on some occasions. She’s feisty, strong-willed, always determined to get the job done, and is always able to give Clark the emotional support whenever they need it. However, what makes her a perfect equal to Superman is how they will both stop at nothing to accomplish their goals for the greater good.

Lois Lane in general is someone that is as fearless as Superman is and always shows dedication to finding truth and justice for every report she covers as a journalist with the Daily Planet. Sure, she might not be as invincible as Superman is and is certainly not bullet proof but when it comes to her heart and free will, she is about as equal to Superman as someone can possibly get. That’s what makes the two a perfect couple and Lois Lane a perfect love interest.

Just watch this scene and tell me that it is NOT magical!

I wouldn’t be surprised if this is what inspired Disney to making the magical carpet scene in Aladdin.

Most superhero movies tend to always botch the love story. Mostly because it usually only acts to give the superhero a love interest and have it play second-fiddled to everything else going on, usually only acting like a box that needs to be checked off. But with Superman (1978), Lois Lane helps acts as the pure heart of the film and helps Clark fill that missing hole he had within himself in his early days as Superman.

4.) Saving People’s Lives

This is simply one component that a superhero movie can NOT live without. You need scenes and moments that shows a superhero actually being well…….a superhero. Throughout superhero movie history, we’ve seen plenty of examples of superheroes filling their good superhero duties by saving the lives of folks they’ve sworn to protect. We’ve seen Spider-Man saving people from a burning building, we’ve seen Iron Man rescuing passengers from a plane. With Superman, we get to see him rescuing innocent people from natural disasters and bridges on the verge of collapsing.

While the main protagonist saving people has never been anything out of the ordinary, there’s always something special when a superhero does it. This is mostly because they are able to save people in ways that an average person won’t be able to. They are gifted the skills, power, wealth, and/or resources to be able to rescue lives and give themselves a name which regular people would not be able to. With Superman, he is just using the powers that was gifted to him by his parents and home world for the benefit for others and not just himself.

And I know you might be wondering why I am not referring to Superman saving a specific important character at the near tail end of the film. Well, that’s because I’m saving that for the very next part.

5.) The Big Third Act Climax

Okay, this movie doesn’t have the traditional big third act battle that most superhero movies those. This isn’t like the third act of every Avengers movie where there is always so much crap that goes on at the same time that it can be hard to keep track off. This isn’t even like the big climaxes to Superman II, Man of Steel, or Batman V Superman: Dawn of Justice where it involves Superman having to fight a powerful being that is even stronger than himself. This involves Superman having to save the day from the wreckage that Lex Luthor causes, a wreckage that could cause a worldwide nuclear war. Much like the climax to Spider-Man (2002) (expect without the ass-kicking 101 scene with the Green Goblin), it involves Clark having to be the hero to the world that he believes himself to be.

I already partially covered the meaning and purpose of the climax in my last part where it involves Superman having to save the very people he has sworn to protect. However, what part I missed out on is the part where he has to save Lois Lane after she partially died. After Superman fails to save Lois from the earthquake that Lex Luthor caused, he commits the biggest deus ex machina imaginable by using his superpowers to rotate the earth back and turning back time.

Can this be considered “cheating”?! Heck yeah!

Does this make any sense whatsoever?! Heck no!

However, that doesn’t change the fact that the third act climax is where Superman faces his toughest challenge yet, the part of the film where the main superhero finds himself pushed beyond measure to be the hero for everybody and the ones he loves. That always tend to be the blueprint for most third acts in superhero stories and I have no doubt this is the one superhero movie where many filmmakers got their first inspiration from.

6.) Being A Symbol

This might be the most important trope of all for every superhero story brought to the big screen. That is having your main character be a symbol. Not just for the characters in the story but for the audience as well! For superheroes to exist for as long as they have, they must have inspirations. They must have folks that would love nothing more to follow in their footsteps and become superheroes of their own in any way, shape, or form. Thankfully, Superman (1978) is able to succeed at that in both ways.

In the context of the movie, the public now has a very positive view on Superman and sees him as being mankind greatest superhero. When it comes to pop culture, the entire world and entertainment industry has followed in this film’s footsteps of making not just more Superman incarnations but also more superheroes of his kind.

Since this film came out, we have gotten more Superman films, shows, games, and comics that most certainly got it’s initial template from this 1978 gamechanger. Also, since this film came out, we have gotten many different superhero films, shows, games, and comics of it’s kind. The kind that I imagine would not exist if it wasn’t for the impact that Richard Donner and Christopher Reeve brought to the world.

Above all, Superman (1978) is able to prove that it’s title hero is in face the symbol he set himself out to be. Not only through the truth, justice, and American way that the character himself claims but through having that impact on the whole world, being the kind of hero that his parents always thought of him has and what I imagine the world saw Christopher Reeve has.

Being that exact symbol!

A symbol of……you guessed it……hope!

In conclusion, superhero movies wouldn’t be where they have been for a long time now if it wasn’t for Superman (1978). This is not only the superhero film that got the ball rolling but it’s the superhero film that laid the groundwork for all the beats, tropes, and basic structure that nearly every film based off of a comic book and superhero is expected to follow upon. This overexposed subgenre only ever became what it is and has grown to be for nearly the past five decades due to the groundbreaking success of Superman (1978).

This was the birth of the superhero!

This was Superman (1978)!

Next Up: Superman II: When Director’s Cuts Matter

Top 10 Biggest 2025 Summer Movies- Box Office Predictions

AdamLeave a comment

It’s now officially May which means it’s now officially the summer movie season! The time of the year where the big blockbusters of the year are front and center in movie theaters everywhere now that the kids are out of school! Because of that, it’s time to do a list of what I believe will be the top highest grossing films of the summer!

With Hollywood continuing to struggle in the movie theater business post-covid, only God knows how many more summer movie seasons await. Although, theaters have been picking up great momentum in the box office as of late with the likes of A Minecraft Movie, Sinners, and the very successful re-release of Star Wars: Episode III- Revenge of the Sith, it’s unclear how long they will be able to carry that momentum throughout the rest of the year and even the future.

I think the 2025 summer movie season will give a big indication as to whether or not Hollywood is still recovering from the post-covid era of struggling to get people’s butts into theater seats or will this be the beginning of a resurrection for summer movies! We can only cross our fingers and hope for the best!

And considering I’ve been seeing multiple people put their own predictions of the top 10 biggest summer movies in terms of profit, why not throw my own hat in the ring and do my own list of this?! Keep in mind, these are the movies that I believe will be the highest grossing of the summer, not the ones that I desperately want to be at the very top. If that were the case, then Superman (2025) would be #1 and Jurassic World Rebirth would be dead last on this list. This list is not a matter of anticipation or movies I think will be objectively the best, this is a list of the movies that I believe will be the most to least successful in terms of the top 10 movies of the summer.

Also, this is a ranking based on box office numbers worldwide and NOT domestic. That list would be harder and more complicated for me to judge. This is how I feel the box office numbers will hold for summer movies WORLDWIDE from May to mid-to-late August. Could I be dead wrong on every single one of these? Absolutely! But hey, it’s fun to be able to make predictions, right?!

Time to jump right in and put my predictions on what I believe will be the top 10 highest grossing films of the summer!

10.) Karate Kid Legends

Release Date: May 30th

Box Office Projection: $300 Million

Reason: The Karate Kid franchise has had some solid popularity as of late with the smash hit Netflix series Cobra Kai, that just concluded its sixth and final season. With Legends acting as the first film entry of the franchise since The Karate Kid (2010), we see both Jackie Chan (the star of the 2010 film) and Ralph Macchio (the OG Karate Kid) coming together to train a new student in the ways of kung fu. I’m not sure how much fans out there have been eagerly awaiting for this combo or even another entry but if it’s able to capture a tiny bit of the magic of Cobra Kai, I can see Karate Kid: Legends being a solid crowd pleaser and a satisfying coming of a full circle for die-hard fans.

9.) F1

Release Date: June 27th

Box Office Projection: $400 Million

Reason: Ngl, if this movie were set to come out before Sinners, I probably would not have put this on the list. However, after the surprising success of that film, which will certainly get as strong of box office legs as it possibly can, it proves that audiences still have hunger and desire for original films. Add that to the star power of Brad Pitt (recent controversy aside) and director Joseph Kosinski coming high off of Top Gun: Maverick, I can see F1 being the exact kind of smash hit that Hollywood needs for these kinds of films. The only question is whether or not the studios will let this one grow as the summer goes on and the mega July blockbusters start coming into play.

8.) Thunderbolts*

Release Date: May 1st

Box Office Projection: $450 Million

Reason: The first main blockbuster of the summer just came out in theaters and is set to at least kick off the summer box office better than last year’s The Fall Guy did. With strong reviews and early positive word-of-mouth, Thunderbolts* can most certainly outperformed early expectations and make enough in the long run to be able to make a profit. It’ll be entertaining to see how the media and YouTube will try to spin this film as being an actual failure because it didn’t make a billion dollars overnight or what was once considered “good enough” for a MCU/superhero movie is no longer good enough anymore. The only downside, other than a sudden Multiverse of Madness second week drop off, could be seeing how this is able to stack up once the likes of Mission: Impossible and Lilo & Stitch comes around and if Disney and Marvel will have cold feet early and dump it to Disney Plus once Fantastic Four is out.

7.) Elio

Release Date: June 20th

Box Office Projection: $575 Million

Reason: Last year saw Pixar’s most successful and crowd-pleasing film ever at the box office with Inside Out 2, the highest grossing animated film at the time of it’s release. However, they now face a different challenge with Elio, a new and original animated flick that has been delayed multiple times. With no Woody, Buzz, or Lightning McQueen in sight, it will more than certainly have to rely on its stellar quality to make folks want to see it in theaters rather than wait for it on Disney Plus. If Pixar and Disney can pull off the same strategy they did with Elemental and Inside Out 2, by keeping it in theaters as long as they can and saving the physical/digital releases until Fall, then I can see this making a solid 575 million dollar signs, which would most certainly be good enough. Again, this will all likely matter if the finished film is actually any good.

6.) Mission: Impossible- The Final Reckoning

Release Date: May 23rd

Box Office Projection: $600 Million

Reason: Tom Cruise is here to “save” cinema one last time with Mission: Impossible- The Final Reckoning, acting as the potential final entry to the near three decade-long running Mission: Impossible film franchise. However, I still can’t help but feel like this one is gonna underperform it’s skyrocket expectations at the box office. While making $600 million sounds like a notable success on paper, the film’s reported $400 million budget and coming off of the underwhelming (at least in terms of box office) Dead Reckoning will give The Final Reckoning a near-impossible mission to accomplish. Also, facing immediate competition with Lilo & Stitch won’t make things much easier either. I’m always rooting for this franchise but it has all odds against itself this time around. Hopefully, there’s enough of Tom Cruise running to save this film this time around.

5.) How To Train Your Dragon (2025)

Release Date: June 13th

Box Office Projection: $650 Million

Reason: After the mixed-at-best results of Disney live-action remakes since 2010, DreamWorks and Universal has decided to take their stab at it by adapting the beloved animated How To Train Your Dragon in live-action form. With a sequel already being announced and set for a 2027 release date, it’s clear that DreamWorks and Universal are expecting this one to perform well. If it’s able to live up to the promise of being a faithful transition to the animated film and avoid any Snow White-level of controversy, then How To Train Your Dragon (2025) should most certainly make the money it needs to and act as a proper re-introduction to DreamWorks’ most acclaimed animated film series to date.

4.) The Fantastic Four- First Steps

Release Date: July 25th

Box Office Projection: $750 Million

Reason: I don’t care what YouTube says or what outrageous out of context quote got social media in a pansy, this film is gonna do numbers at the box office and be Marvel’s most successful film released in 2025. Even with those that have been sour on Marvel and previous Fantastic Four incarnations, they will still owe it to themselves to see Marvel Studios themselves take their first stab at adapting Marvel’s first family onto the big screen. With the build-up to Avengers: Doomsday looming and Thunderbolts* being a potential box office success, The Fantastic Four- First Steps should have no problem in carrying that momentum from Marvel and set the stage for Doomsday and Secret Wars nicely. If I look like a foul in two months, so be it. But for now, I can’t help but have positive expectations for this one!

3.) Superman (2025)

Release Date: July 11th

Box Office Projection: $825 Million

Reason: There’s plenty of reasons to be positive and negative about Superman (2025). This is a film that sees Superman returning to the big screen in his first standalone film since 2013, the start of a brand new cinematic universe, and what will likely be viewed as the film that gives the superhero genre the shot in the arm it needs. And it’s whole “This is the movie the world needs right now!” marketing should most likely play a positive impact. However, conflicting reports of the film being released overseas along with not knowing the exact expectations that Warner Bros has for this film could hurt it in the long run, which could make James Gunn’s DC universe over before it even begins. Still, this should be one of the most talked about and discussed movies of the summer regardless and will likely attract enough audience to give it a watch on the big screen.

2.) Jurassic World Rebirth

Release Date: July 2nd

Box Office Projection: $900 Million

Reason: I don’t know how they keep making these films and why they always make so much money at the box office. That being said, this franchise is always able to draw big crowds both domestically and overseas. Coming off the (rather quiet) billion dollar grosser of Jurassic World: Dominion (which was supposed to be the final film in the franchise), Jurassic World Rebirth will see Universal try to squeeze whatever remaining dollars it has left with the Jurassic Park IP. I got nothing to say other than if it offers enough dino action and Black Widow and Blade kicking enough ass together, this should be one of the biggest hits of the year. The only question is whether or not it’s able to follow his predecessors and achieve the billion dollar mark, especially after Dominion just barely was able to accomplish that. Although if my prediction is any indication, I’m gonna go with a no on that one.

1.) Lilo & Stitch (2025)

Release Date: May 23rd

Box Office Projection: $1.1 Billion

Reason: You might be calling me crazy for putting a Disney live-action remake as not just the #1 spot but the one that will be able to achieve $1 billion at the box office. I mean, how could Disney possibly recover after Snow White (2025), right? Well, they were able to recently achieve billion dollar grossers with Inside Out 2 and Moana 2 along with a solid 700 million dollar hit in Mufasa (*insert Sonic fan punching the air). Plus, this is being sold as the cute family friendly big movie of the summer, regardless if you have seen the original animated Lilo & Stitch or not. All it needs to do is deliver exactly what it says on the cover, avoid any negative press of any sort, and give itself a good long theatrical window. Do all of that and I pretty much guarantee that this will be the #1 movie of the summer and will be yet another billion dollar grossing hit for Disney. If I end up being wrong, so be it. But if I’m not, then you can all eat cake!

As for other movies that missed the list:

  • I think Ballerina will avoid the fate of Furiosa if Keanu Reeves plays a significant role in the movie but it likely won’t make as much as the last few John Wick flicks.

  • 28 Years Later and Megan 2.0 should appeal greatly to fans of the horror genre and previous installments of their respected IPs but I can’t help but feel it will get lost in the shuffle with them being released so close to other big movies.

  • The Naked Gun will either sneak under the radar as the one standout comedy flick of the summer or be buried and forgotten like the rest of the remaining comedy genre.

  • The Bad Guys 2 will certainly gain numbers during the fall if it’s able to continue the streak of perfect DreamWorks sequels but I left it off the list because it’s coming out right as the summer movie season comes to a close.

  • Freakier Friday is………a thing I guess. It might make noise for a week or two but then be completely forgotten about along with Haunted Mansion.

Best Movies Of 2024

AdamLeave a comment

Another year of entertainment has come and gone so it’s time to look back at some of the very best that it had to offer. It’s been a wild and chaotic year and 2025 is looking to be even more wild and chaotic! That’s why it’s now time to share my picks for the top ten best films of 2024 (that I actually saw)!

A few disclaimers is that I did not see EVERY film I wanted to see by the end of the year. These include films that have gotten rave reviews from critics and audiences such as Heretic, Juror #2, Late Night With The Devil, and The Brutalist. I’ll see them whenever I can but I couldn’t see them on time for this list. Perhaps in the future, I’ll make an updated list of the best films of 2024 and I might include them once I see them. But for now, just know that I couldn’t see every critically darling to come out in 2024. Even so, let’s get on with this list and start with the honorable mentions.

Honorable Mentions:

  • A Complete Unknown

  • Abigail

  • Alien: Romulus

  • Boy Kills World

  • Challengers

  • Kingdom of the Planet of the Apes

  • Flow

  • Transformers: One

  • Smile 2

  • Young Woman and the Sea

And now, onto the main top 10!

10.) Anora

Here’s a film that can be perfectly described as “Tumblr coded” and have it NOT be a bad thing! What starts off as a casual Cinderella tale about a love at first sight between a man and woman and riding off into the sunset to live happily ever after later transforms into a good old fashion slow burn rug pull that sees the consequences being played of an illegal relationship between a sex worker and an illegal Russian immigrant. Funny, slick, sexy, sharply directed, and featuring one incredible star making turn from Mikey Madison (Please call me!), Anora makes for one of the most engaging and subversive films of the year.

9.) Love Lies Bleeding

What is likely going to be the favorite film of 2024 for every lesbian and bisexual woman out there, Love Lies Bleeding is able to deliver their goods for not only it’s clear target demographic but will even entertain those outside of that. You have two electric actresses in Kristen Stewart and Katy O’Brian front and center who give everything they have for one another, spot-on direction and cinematography, a plot that will keep you on the edge of your seat the whole way through, and characters who aren’t necessarily good people but you can’t help but root for them regardless. And yes, this film is INCREDIBLY sexy in every way you expected and wanted! Rose Glass is able to deliver an absolute rollercoaster of a motion picture that works as a toxic love story and brutal romantic drama at the same time. It doesn’t matter what gender you are or what sexuality you are, by the end of Love Lies Bleeding, you will thinking to yourself, “LET’S GO LESBIANS!”

8.) Sonic The Hedgehog 3

Sonic The Hedgehog 3 is just about every Sonic’s fans dream come true! The Sonic characters themselves are at the absolute forefront with more focus than ever, the action and set pieces are all exhilarating and fun, the CGI is a treat for the eyes, there is more fan service and easter eggs than before, it’s able to adapt the storylines from Sonic Adventure 2 and Shadow the Hedgehog near perfectly, and Keanu Reeves predictably kills it as Shadow, as the character gives more depth and development than he arguably has in any other Sonic medium! It’s also nice to see how Sonic himself has grown through out the trilogy and seeing Jim Carrey bounce off well…..himself is an absolute laugh riot! This is just a series of films that keeps getting better with each installment and if the post credit scenes for this one is anything to go by, the next one could be even better! Is it high art? Probably not! But does it understand the assignment? Hell yeah, it does! Whether you are a longtime fan or a newcomer that has recently got into the series or someone that enjoys a good time, Sonic The Hedgehog 3 is an absolute triumph and is my personal favorite video game movie to date!

7.) Furiosa

In an age where studio meddling is at it’s highest in the film business, it’s a miracle that Furiosa: A Mad Max Saga even exists in the first place. It’s a prequel of Mad Max: Fury Road, a movie, which despite all the praise it got and the Oscars it won, barley squeaked a profit and made George Miller go to war with Warner Bros to allow Furiosa along with another potential Mad Max: sequel to even happen. This isn’t a film that exists because it’s something that Warner Bros desperately wanted to greenlight. It’s a film that exists because George Miller fought his neck and teeth for to get made. If this really is the beginning of the end of movie theaters as we know it, then I’m at least glad we are going out with bangs like like Furiosa: A Mad Max Saga. A glorious action packed spectacle that offers a further expansion of the Furiosa character, more depth into the insane world of Mad Max, telling a compelling origin story that stands strong in it’s own right, and makes for a perfect counterpart to it’s already perfect successor in Mad Max: Fury Road. It may not quite reach the height of Fury Road but oh man, is it fun to watch George Miler try to top himself the whole way through. Even if Mad Max: The Wasteland never gets a chance to be made, I’m at least glad I got to see this incredibly well made and well done action thriller about one of the best female action protagonists in recent memory.

6.) Inside Out 2

The nine-year long awaited sequel to Pixar’s surprise hit in 2015 is as every bit of affective, earnest, and heartful as it’s predecessor. Inside Out 2 is arguably the first Pixar sequel not related to Toy Story that seems to have more on it’s mind to justify it’s own existence other than branding and merchandising. Going from seeing Riley as a youth moving to San Francisco to a teenager looking to make it into the high school hockey team with the popular girls, this sequel takes the logical next step into showcasing the inner turmoil of taking the next step to puberty with anxiety, envy, ennui, and embarrassment entering the picture, portrayed perfectly by newcomers Maya Hawke, Ayo Edebiri, Adele Exarchopoulos, and Paul Walter Hauser. There are nits to be picked such as having a familiar plot and structure as the original and a wrap-up that perhaps is a bit too squeaky clean by Pixar standards but as a whole, Inside Out 2 is able to act greatly as a natural continuation and expansion of the first movie’s story and themes. As much as plenty of folks have been down on Pixar as of late with it’s abundance of sequels, I sure hope that Inside Out 2 is good enough for them that they can let it all slide and appreciate the film the way it was suppose to be appreciate. 

5.) Super/Man: The Christopher Reeve Story

Some will find it pure blasphemy for me to put a mere documentary on a best of year list. However, this is no ordinary documentary, it’s one for the O.G. Superman! Super/Man: The Christopher Reeve Story is exactly what these kinds of films need to be. Not only is it a great examination off the great life of the late great Christopher Reeve, the struggles and obstacles he had to overcome to live out the promising life he once has, and getting the points of views for about every noteworthy person imaginable, but just like with Superman himself, it’s inspiring. Even without the powers or cape, this documentary proves why Christopher Reeve was born to play Superman. He wasn’t just some old fashion superhero, he was a noble person that inspired us to be the best possible version of ourselves and not let any personal tragedies get in our way to move forward. If that’s not the sign of an exceptional documentary, then I don’t know what is.

R.I.P. Christopher Reeves

The world misses you more than ever!

4.) Nosferatu

It might feel odd how there’s gonna be generations that will now remembers Nosferatu for this remake and NOT from SpongeBob SquarePants. But you know what, after how excellent this 2024 remake is, I can definitely tolerate it. Nosferatu (2024) sees Robert Eggers firing on all cylinders here, crafting a slow burn yet engaging re-telling of this classic monster mythos in gorgeous and unexpecting ways. The performances are top-notch, the filmmaking craft is on full display, and the amount of vampire blood and carnage will certainly be enough for horror fans that crave for those in their vampire horror flicks. It’s hard to tell if this will stand the test of time as the original 1922 version but no doubt, Nosferatu (2024) is a more than worthy modern update on such as classic tale.

3.) Dune: Part Two

Thus far, no one has been able to stop this sci-fi masterpiece! If Dune: Part One acted as Villeneuve setting the training wheels on his bike in motion, Dune: Part Two sees him being able to successfully take those training wheels off and pushed that bike down the hill with good graces. Nearly all that set up that amounted in Part One has immensely satisfying pay offs in Part Two. The action and set pieces are taking to a whole new level, every single member of it’s talented, stacked cast get their own moment to shine, the cinematography is absolutely jaw dropping and makes the IMAX experience 100% worth it, and it’s able to push all the right buttons on making a perfect sequel, instantly comparable to the likes of The Empire Strikes Back, The Two Towers, and The Dark Knight. This is an instant sci-fi classic that will likely go down as one of the best cinematic experiences that I along with plenty of others will have all throughout 2024. Even if it’s not quite my favorite film of Villeneuve, Dune: Part Two will likely go on to be his most successful film to date and one that shall get the attention of the remaining moviegoing audience that aren’t yet familiar with his name. If the majority of big movies were even half as good as Dune: Part Two was, we would be living in cinema paradise.

2.) The Substance

What might be the most shocking and talked about horror film of the year, The Substance is the kind of film that will easily push new boundaries to the horror genre, so much so that it even got the Academy’s attention with it’s best picture nomination. This makes for both a brilliant commentary on the impossible beauty standards of women in the entertainment industry set by men and the perfect gore porn fiasco that tops itself constantly throughout it’s entire runtime. It pull no punches here, once you think the film goes too far in what it’s saying or doing, it proceeds to go one step further multiple different times, all the way up to the finish line. Demi Moore and Margaret Qualley are perfect in playing their perfectly balanced counterparts, Coralie Fargeat’s direction could not be more perfect, and the make-up effects feel so real and authentic that I wouldn’t be surprised if it came out that it’s not actually make up and what happens throughout the film just….happened. All kidding aside, The Substance is the kind of horror film that deserves your attention. It may not be for everybody, but if you stick with the film on it’s own terms, you might be surprised at how bloody brilliant (no pun intended) this experience is.

1.) The Wild Robot

This may be recency bias but I honestly can’t think of a DreamWorks animated picture that is as complex, layered, and impressive as The Wild Robot. It represents the pinnacle of DreamWorks Animation, delivering one last final triumph before they have to rely on tools and resources from other studios the immediate future. The animation is jaw droppingly gorgeous, the characters are all engaging, endearing, and wonderful to follow, the voice cast is all terrific with everyone being 100% committed to their role, the musical score is mesmerizing and carries the film on it’s own on several occasions, there’s is plenty of funny gags and emotional beats that work greatly, and the way it tackles the themes surrounding survival, parenthood, kindness, purpose, and coexistence is nothing short of marvelous. The amount of plates is able to spend in the air at once and how many hoops it dares to jump through is able to make the film stand out in ways that it had no business of doing so. This is animation and multilayered storytelling at it’s finest and The Wild Robot might just be the next prime example for that. Thank you to all the folks at DreamWorks who worked in-house for the company and I hope the very best awaits you in the future!

Most Anticipated Movies of 2025

AdamLeave a comment

2024 is now officially over which mean it’s now time to roll into 2025! And what better way to kick off the early part of January then to share what new films I’m looking forward to the most in 2025.

When looking through all the big and small movies to come out this year, 2025 has potential to be the biggest year for movies in the post-Covid era. This has to do with the fact that a.) more people are more comfortable going back to theaters than before and b.) the latest strikes in the entertainment industry let to plenty of projects get pushed back to this year and 2026. Because of that, these next few years might just be the kick in the pants that the industry needs to get things back into full gear before it’s too late.

The most impressive thing I’ve discovered when doing research of all the main films slated for 2025 is how there seems to be more variety between original projects and upcoming installments in long-running franchise IPs. If the majority of them are able to deliver, then 2025 should be a strong year in film and especially in theaters due to having the kind of film for any sort of demographic.

Also, I should give a warning that films that I put in my top 10 and for honorable mentions last year will NOT be on this list. Because of that, you won’t see Mickey 17 and Ballerina on this list. I’m very much looking forward to those films and they likely would have been on the list if I didn’t put it on there in the year prior. Nevertheless, since I already mentioned them, I decided to leave them off the list because you already know I’m excited for both of those films.

Honorable Mentions:

  • Wolf Man

After Leigh Whannell delivered big time with his spin on The Invisible Man (2020), I have no doubt he can do it again with this one.

  • Dog Man

If the trailer and marketing is anything to go by, this is looking to capture the spirit of it’s source material while sharing the same unique and colorful animation that Captain Underpants (2017) had.

  • Novocaine

An original action thriller with Jack Quaid (The Boys) and Amber Midthunder (Prey)?! Sign me up!

  • Karate Kid: Legends

Even in an age where soft reboots/remakes and legacy-quels are oversaturated, there might be something special with Karate Kid that might be able to make that work properly without getting too bogged down in nostalgia and callbacks.

  • 28 Years Later

I’m not quite as high on 28 Days Later and 28 Weeks Later as much as most people but after how hard the first trailer went, my curiosity has skyrocketed!

  • The Bad Guys 2

If there is one animation company I trust with delivering great animated sequels, that would be DreamWorks!

  • Predator: Badlands

After Dan Trachtenberg made the best Predator sequel with Prey, I’m looking forward to see if he can top himself with this one!

  • Wicked: For Good

Since Wicked: Part One turned to be a genuine surprise for me, I’m curious to see if Part Two can stick the landing.

  • Wake Up Dead Man: A Knives Out Mystery

I may not know much about this outside of it’s talented-heavy cast but if it manages to capture the spirit and enjoyment of the first two Knives Out tales, then it will succeed!

  • Guillermo Del Toro’s Frankenstein

It’s Guillermo Del Toro taking on Frankenstein! How can I NOT look forward to this?!

10.) Paddington In Peru

Anymore remember when these movies were gonna suck because how bad the first teaser trailer to the original Paddington was? Those were certainly times! The first two Paddington flicks have to be some of the most heartful and lovable family films of the past decade. Although it has been quite some time since Paddington 2 came out and Paul King not being in the director’s chair this time around does strike some skepticism, I have no doubt that Paddington in Peru will still deliver as yet another immensely enjoyable motion picture about a bear who has no other goal than to spread joy and optimism to the world. If there is one film series you can count on as being the cinematic equivalent of a big hug, look no further than Paddington.

9.) Love Hurts

Here is the first of a couple of original films that was able to make my list! We see Ke Huy Quan in his next big action role after his Oscar win in Everything Everywhere All At Once with Jonathan Eusebio set to make his directorial debut. Quan plays Marvin Gable, a successful realtor whose past as a violent hitman comes back to haunt him when his former partner reveals that his brother is hunting him. All of these factors alone make Love Hurts an intriguing flick to watch out for once it comes out on February 7th. In an industry that has been extremely lacking in original, unique voices for a long time now, it would be nice if we can see this one become the next big thing and be an instant classic.

8.) Avatar: Fire & Ash

You can say whatever you want about the Avatar films but there is no denying this franchise knows how to deliver visually spectacle and thrilling cinematic experiences. Avatar: Fire and Ash will see director James Cameron continue to expand upon the world that he has been passionate about for over the past two decades while following up on the loose ends he left hanging in The Way of Water. Regardless of the outcome of this third installment, you can guarantee this will be yet another instant billion dollar grosser that will break records all across the globe. And considering we are living in dire times where the movie theater going experience is no longer prevalent, we needs films like Avatar: Fire and Ash more than ever.

7.) F1

Here’s a brand new film about formula one racing starring Brad Pit as a former hotshot driver who must get back in the game after retiring from an accident that left him shook. This is Joseph Kosinski’s next big feature film about Top Gun: Maverick, where he goes from blazing in the skies to vrooming on the race track. If he’s able to make the racing sequences as intense and captivating as he did with the flight scenes in Top Gun: Maverick (or even the racing scenes in Ford v Ferrari), this could make for yet another big crowd pleaser.

6.) The Running Man

If this was made by any other filmmaker, I likely could not give two craps about this. But because it’s made by Edgar Wright and stars a superb cast of Glen Powell, Katy O’Brian, Josh Brolin, Daniel Ezra, Lee Pace, and plenty others, The Running Man is among my most anticipated films of 2025. This is an adaptation based off of the 1982 novel of the same name by Stephen King, marking the second adaptation of the book, following the 1987 film with Arnold Schwarzenegger. If there is anyone on the planet that can make another remake/adaption feels fresh, unique, and feel like the definite version, it’s Edgar Wright. Also, the more Glen Powell, the better!

5.) Sinners

A new and original supernatural vampire horror flick that stars Michael B. Jordan in a new dual role and Hailee Steinfeld and directed by the GOAT Ryan Coogler, the man behind Fruitvale Station, Creed, Black Panther, and Black Panther: Wakanda Forever. With the proven talent among the cast and crew and the superb first trailer of it, Sinners is looking to be a refreshing change of pace in the film industry that is stuffed with endless sequels, remakes, and legacy-quels. Not only am I looking forward to a film that is looking to push it’s own unique boundaries but also to see how the rising career of Ryan Coogler moves forward. It’s only a matter of time before Mr. Coogler becomes a household director name with the likes of Stephen Spielberg, Christopher Nolan, Quentin Tarantino, James Cameron, and Martin Scorsese.

4.) The Fantastic Four: First Steps

Yeah, I know it’s not popular to put another MCU film on the most anticipated lists because they are not as good as they used to be, even after one of their films just became one of the highest grossing comic book films ever last summer. However, I can’t help but be intrigue and filled in eager when it comes to Marvel Studios finally tackling Marvel’s first family in The Fantastic Four: First Steps. This is set to be the first film of Phase 6 and most likely leave the groundwork for Avengers: Doomsday and Avengers: Secret Wars. With a talented cast, intriguing premise, and a direction that seems to have it’s own unique style to it that works for the Fantastic Four themselves, I can’t help but be super excited for this one. Please don’t screw this up, Marvel! Your first family desperately needs a legit great film at long last!

3.) Elio

I don’t think there is any animated studio that gets me most interested in an original film than Pixar. After becoming the highest grossing animated film of all time last summer with Inside Out 2, Disney and Pixar are looking to build upon that momentum with their latest original animated flick, Elio. This follows an eleven-year-old boy named Elio who is mistakenly identified by aliens as Earth’s ambassador. This has had quite a production history, being delayed by a full year with the impact of the writers strike along with changes in director and leadership. However, I still cross my fingers in the hopes that this is able to deliver. If Elio succeeds, this could be yet another classic Pixar original to add to their incredible library. For those that complain about Pixar making sequels over the years, you better support this one once it comes out in theaters in June or else you can’t complain!

2.) Mission: Impossible – The Final Reckoning

After nearly three decades, this franchise is looking to reach it’s endgame with Mission: Impossible – The Final Reckoning. This films have been the textbook example of “understanding the assignment”. What has been Tom Cruise’s baby since the beginning, this series of films have succeed in delivering constantly entertaining action and espionage thrill rides. For this final chapter, we will see the crew picking up where Dead Reckoning started with them likely figuring out what to do with the keys that they have claimed. I don’t know if this will reach the heights of Fallout but I will be there day one to see how this superb action franchise will stick the landing. Fingers crossed there won’t be another Barbienheimer that will bury this film under the rug this summer.

1.) Superman (2025)

If there is one film that could change the course of Hollywood for the foreseeable future, it’s Superman (2025). While it may seem on the surface just another Superman movie, it means much more than that when looking at it from underneath. This is a film that is set to accomplish a lot of things. It has to act as a launching path for the next wave of DC movies and shows, it has to lift up the superhero genre that is suffering from great fatigue by each passing day, it has to present Superman in a way that no other film has had to this day, and it also has to act as the next big event for theaters if it is to thrive in the future. James Gunn will have his biggest challenge yet as a director with Superman (2025), tasked with having to carry DC Studios and the superhero genre behind his back for the future along with giving Hollywood a new successful franchise to profit off of. With a cast that consists of David Corenswet as Clark Kent/Superman, Rachel Brosnahan as Lois Lane, and Nicholas Hoult as Lex Luthor, a premise that seems to portray Superman as not just a beacon of hope but something that always looks for the good in everyone, and even the freaking superpowered dog of Krypto, there is no film released in 2025 that has my curiosity and excitement than Superman (2025).

Suicide Squad: Kill The Justice League- About Batman

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*Warning! This article contains MAJOR spoilers for Suicide Squad: Kill The Justice League! If you haven’t played the game yet and/or don’t want anything spoiled for you, then you might want to click off the article right now! You have been warned!*

Oh, boy! Suicide Squad: Kill The Justice League is perhaps the hottest and most controversial game at the moment! Even before it’s release, there has been plenty of things that have inspired it’s controversy. From the required online services to it’s obsessed looter-shooter mechanics to this not being a Superman or Batman Beyond game, things were not looking too bright for Rocksteady’s first console game since the mid 2010s. And the fact that it was delayed numerous times didn’t seem to help much either! However, there is certainly not been a bigger controversy of this game than that of Batman’s role. Before we dive deep into why people are angry about how Batman was handled in Suicide Squad: Kill The Justice League and whether or not it’s justified, let’s go back a bit to see what happened with the Caped Crusader between Arkham Knight and into this game.

As we all know, Batman: Arkham Knight for a while was considered the definite conclusion to the Arkhamverse. After all, the game ended with Bruce’s identity being revealed to the world by Scarecrow, which gave the orphan playboy billionaire the impression that his time as Batman in Gotham has come to an end. By installing an emergency protocol he activated in case his true self ever got exposed, formerly known as the Knightfall protocol, that led Bruce to faking the death of himself and (presumably) Alfred to have the world think he is dead and hopefully keep those he cares about out of harm’s way. Despite everyone else in Gotham believing he is dead, it’s revealed in the very last scene of the game where two muggers attack a family in an alley that Bruce might in fact still be alive but cosplaying as a nightmarish figure resembling Batman, using the fear toxin from Scarecrow to make that happen.

Even though Arkham Knight was designed to be the true endgame for this iteration of Batman, it still had such an open ending that could open the door to pretty much anything if this series would ever be continued. For a while, there were rumors and speculations that suggested this would lead to the likes of a Damian Wayne-lead Batman game which would have Bruce Wayne in his “Batman Beyond” phase. This game was confirmed by voice actor Josh Keaton to be true and he would have been the voice of Damian Wayne himself. However, due to leaks and potentially WB Games Montreal (the studio that was developing the game) having cold feet on having a game focused on Damian Wayne taking on the Bat mantle, that project never came to pass.

It was then that project would later turn into Gotham Knights, putting the focus on the other members of the Bat family with Robin, Nightwing, Red Hood, and Batgirl after Bruce Wayne’s supposed death. Despite being a reasonable thematic follow-up to Arkham Knight, that game was not considered part of the Arkham canon and stood alone as it’s own game. After several years of rumors of a potential Superman game set in the Arkham universe along with the un-canon release of Gotham Knights, the true continuation of the Arkham canon came with Suicide Squad: Kill The Justice League, which the version of Batman would be the same one as we’ve been following in Arkham Asylum, City, Origins, and Knight.

The game states that after Arkham Knight, Bruce disappeared for several years until Superman found him. After he found Bruce, Superman asked for him to come back as Batman and join the Justice League. An offer which Bruce accepted. So now, Bruce as a new home in Metropolis and a new purpose as Batman in the form of the Justice League. Because of all that, the story of Bruce Wayne as Batman continues….even though everyone in the world knows his true identity.

And…that is literally all the context that the game gives us. There have been a few expansion novelization that suggest that post-Arkham Knight, Bruce was depressed and felt his live was ruined after Scarecrow revealed his identity, with the mindset that joining the Justice League would cure him of his depression and allow him to continue his crime fighting persona. But other than that, just about everything that has gone on with Batman between games happened offscreen with major important context being completely handwaved.

When you view that status quo with the little context the game offers us, that basically renders the ending of Arkham Knight rather meaningless. Why did Bruce go through all that trouble in faking his death to protect his friends if he was just going to come back in another city as Batman? By that point, criminals were no longer afraid of him and the world knowing his identity would put his friends in graver danger than ever before. Did Bruce just assume he trained his companions hard enough where they could handle any danger by themselves without his presence, even though Arkham Knight showed us they clearly can NOT?! And what happened with Alfred? Did he die with Knightfall Protocol or was he presumably killed offscreen by evil Batman like his other companions have been (We’ll go into THAT soon enough!)? The game doesn’t really give us any answers to those questions. While that is understandable from a narrative standpoint because this is suppose to be a Suicide Squad game first, it just makes it all the more clear that this could not have been a worse game to continue the plot threads of the Arkhamverse. Instead of getting a Superman or Justice League game first that might expand on that status quo and even justify it, it’s thrown to the wayside where you basically have to fill in the blanks yourself.

When it comes to Batman’s role in the game, he is basically in his pure evil form the whole way through due to being mind controlled by Brainiac. So much so, that he does what normal Batman would not do….kill people. This is shown in the very first sequence with him when he encounters the Suicide Squad. He blatantly uses his batarang to murder security guards and comes close to beating mind-controlled Barry Allen to death until he is ordered by Brainiac to keep him alive. Although, as usual in mediums where Batman breaks his “no kill” policy, it’s incredibly inconsistent. Like, he has no problem wiping out security guards and even the freaking FLASH but when he has the squad pinned down, he just screws off because otherwise….the game would be over in an hour.

However, as someone who tries to overprepare for EVERYTHING in his life, Batman even offered preparations in case something like himself and the Justice League being mind controlled by Brainiac happened. This is revealed in a recorded message once the Suicide Squad breaks into the Batcave. This was a message intended for his companions: Robin, Nightwing, and Oracle (which I guess answers one of those questions I stated before) as a guide on how to stop the Justice League if the group became compromised. Unfortunately, it’s revealed that Robin got taken out by evil Batman with the fates of the other two, Jason, and Alfred being unknown (which proves how dumb of a decision it was for Bruce to come back as Batman leaving his companions defenseless).

It’s then you fight Batman in his nightmare form he had been fighting in since Arkham Knight. After a rather intense sequence where you have to spread the Bat lab with fear toxin gas, you confront the nightmare fueled caped crusader head on until you’ve shoot at him enough times to beat him. The end results leaves Bats badly wounded and bleeding everywhere. The squad takes him to Lex Luthor’s lab, who uses Batman to develop golden kryptonite weapons to kill Superman. In comes the most talked about scene of the game!

In order to lore Superman out of hiding, the squad takes Batman out in the open to execute him. After Harley gives a speech about the history the two have shared throughout this series of games and Batman calling the speech s*it, Harley shoots Batman blank in the face and kills him. Supposedly putting an end to the Arkham Batman as we know it and possibly the last time we will ever hear Kevin Conroy’s voice as Batman.

To say this has pissed people off would be an understatement! To take a version of the character that is considered to be the definite Batman medium in terms of video games and possibly all forms of entertainment and kill him off in such an unceremonious way is guarantee backlash from day one! However, there may be something here that we are NOT aware off and will have to await for seasonal content to determine the true outcome.

First off, I will say right off the bat! DO NOT USE KEVIN CONROY’S DEATH TO DRAG BATMAN’S TREATMENT OF THIS GAME THROUGH THE MUD! THAT IS DISGRACEFUL AND UNCALLED FOR!

No one at Rocksteady could have predicted his death and I’m fairly certain his voice work was recorded at least a few years before his untimely passing. Let’s also not forget that Kevin Conroy himself DID agree to do the voice work for Batman in this game and (if sources close to him are any indication) was perfectly okay with what was done with Batman in this game. It’s not like this is some A.I.-generated voice or anything, this was in fact all Kevin Conroy. The man NEVER once stated that Suicide Squad: Kill The Justice League would be his final time voicing the character. It was just unfortunate this had to be one of the very last times for him to do it!

Secondly, let’s not act like Harley Quinn or anyone else is incompetent or isn’t capable of taking the Bats down. After all, this was the same Harley Quinn that was able to capture Batman in her DLC for Arkham City and would have in fact killed him due to lack of oxygen if it wasn’t for Robin saving his life. And if you continue to treat this game as canon to the Arkhamverse, it does tie back to Arkham City and Arkham Knight of Harley Quinn seeking vengeance against Batman for the death of her pudding. Yes, it seems like little HQ is over her pudding’s passing throughout the game, but it does thematically feel natural to her character.

Thirdly, and I’m pretty sure this has basically been confirmed through leaks, this is NOT the same Batman as the one we’ve been following since the Arkham games. What I mean by that is I’m fairly certain that upcoming DLC will reveal that the evil Batman presented throughout the game is not the real Batman but a clone made from the same DNA by Brainiac. The evil Batman that is presented throughout feels so out of left fired compared to the prior Arkham games that I would be shocked if it was not revealed that the Batman in this game is a fake and the real one is still out there somewhere.

If you don’t believe me, there are plenty of hints throughout the game that give the indication that the Justice League presented in the game are in fact not the real ones. You have the Flash that was able to regrow his finger after it got cut off, there’s Green Lantern whose ring doesn’t act the way it normally does, Superman surviving the kryptonite from Wonder Woman, all of the bodies of the JL after their “death” being teleported back to Brainiac’s ship, and even just the fact Brainiac refers to the Justice League at the final battle as MY Justice League and not THE Justice League. Not to mention, this is literally the same game where you have to go to another world to find another Lex Luthor after the one in this universe was killed off by The Flash. It’s time travel at will!

And if you are wondering about the hints of Batman’s potential resurrection, a recent video by the GOAT Batman Arkham Videos, found a hidden easter egg that teases that exact possible outcome for the future. There’s a hidden message in the forms of calendars scattered throughout Metropolis, each highlight a specific date, which the one from December has the bat symbol labeled on the date of the 14th. These calendars serve as a nod to Calendar Man, a villain from Arkham City, and spells out a message in twelve letters that makes sense once you crack the code. That message states, “He will return!” If that’s not a sign that Rocksteady is not done with their version of Batman yet, then I don’t know what is.

I’m sure there will be PLENTY of folks that will claim that Rocksteady would only resurrect Batman and the other previously fallen Justice League members due to the massive backlash of the game but if the hints, easter eggs, and leaked audio of the upcoming DLC is any indication, it’s clear this was planned from the very beginning. Plus, as we should all know now the old saying of comic book storylines, no one ever stays dead except for Uncle Ben and the Waynes.

The bigger question isn’t so much about if Rocksteady plans to revive Batman and the rest of the Justice League but more of when and how? Will they stick to their guns and release the seasonal content when they originally planned to? Will they release ASAP in response to the negative reception of the game? Were they able to get voice recordings of Kevin Conroy’s Batman for this DLC before his death or would they need to recast in order to do so? I’m sure those questions will be answered as 2024 goes around but I’m fairly certain that this will be the final outcome for the Arkham Batman.

Although this is the main problem with live-services games that rely on seasonal content to determine the final outcome of the game but the only thing we can all do is wait and see. While Batman’s resurrection will not solve all of the problems with his inclusion in this game, I am hopeful Rocksteady is able to find some alternative that can either continue his story in this universe or find a real proper ending for the character.

Even if Batman is getting much proper treatment in the upcoming DLC, I still consider Arkham Knight to be the true definite send-off for this iteration of Batman. Anything afterwards to me is basically a “What If?” scenario and nothing else. If it’s done well, I can be like “Yeah, I guess that would be cool!” If it’s not done well, I can then be like, “Well, at least it ended with the last game for me!” I have my Batman games to look back upon fondly and nothing this game does can take that away from me!

Regardless, I’m grateful we got to hear Kevin Conroy voice Batman at least one more time for a big major title! And as I said in my main review, he sounded just as good there as he did when he first put the cape and cowl on back in the 90s with Batman: The Animated Series!

Thanks for everything, Kevin! We will miss you!

Suicide Squad: Kill The Justice League (2024) Game Review: The Best Of The Worst But Still The Worst

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After a near decade long wait, Rocksteady has FINALLY return to the scene with Suicide Squad: Kill The Justice League, the studio’s first console game since Batman: Arkham Knight. After the massive success and acclaim of the Batman: Arkham series, I’m pretty sure everyone and their mother had been wondering what this studio would tackle next after such an impressive achievement with that beloved franchise of games. Would they continue that timeline with a Batman Beyond game with a big focus on Damien Wayne? Would they do a modern Superman game running on the same Arkham engine? Would they do a full-on Justice League game? Or would they do something completely original that doesn’t involve DC superheroes? While all of those development cycles had been rumored or speculated for years now, none of those ended up being the case whatsoever. Instead what we have is a brand new Suicide Squad game with the subtitled Kill The Justice League.

Suicide Squad: Kill The Justice League takes place in that same Arkhamverse as the Rocksteady Batman games and the one from WB Games Montreal, that puts an emphasis on third-person shooting, exploring an open world, and (at least at the time of writing) requires your service online to be able to experience the game fully. The game was announced in August 2020 was set for a 2022 release date until that got delayed multiple times to improve the overall quality of the game. More DLC in season passes is expected to arrive over the course of the year and possibly even more depending on how the services are later on down the road.

I can’t speak for everyone but I really don’t think a Suicide Squad game was the follow-up of Batman: Arkham Knight from Rocksteady that we all expected or even wanted. Perhaps had there been a few games before this on, such as the previously mention Batman Beyond, Superman and/or Justice League game, it would feel more welcome. But, for a game that has been reported to be in development since at least 2017 and coming from a successful studio who hasn’t released a full game since 2015 (Batman Arkham VR does NOT count!), Suicide Squad: Kill The Justice League acting as the first blimp in the radar in what seems like forever doesn’t really inspire much courage.

However, at the end of the day, you can only judge a game based off the final product. And considering I already promised I would do a review for this game when it came out as a means to include my Batman: Arkham marathon, I have no choice to do just that. Is Suicide Squad: Kill The Justice League able to make the best out of the worst possible situation or does it really deserve to be dragged through the mud like it has been by the majority of the internet? Let’s start off by talking about perhaps the most conversational aspect of the game, the story!

Story:

First off, I will say I will try my very best to avoid major spoilers. However, considering the fact that the actual premise of the game could be considered a giant spoiler with itself along with the actual subtitle of the game, I can’t make any promises that you won’t at least read between the lines with what I’m about to talk off. And that’s not even mentioning the leaks to the upcoming DLC that basically confirms that events of this game will be retconned or at least the supposed body count will likely not lead to having to carve headstones after all. Either way, if by some chance, you have NOT been spoiled by Suicide Squad: Kill The Justice League in ANY way, I would advise skipping this part of the review. There is your warning!

Taking place five years after the events of Arkham Knight, we turn our focus of the series to a group of criminals imprisoned in the Arkham Asylum assembled by A.R.G.U.S. director Amanda Waller. This group is known as Task Force X, A.K.A. the Suicide Squad. The members of the Suicide Squad include Harley Quinn, Deadshoot, Captain Boomerang, and King Shark, who are all forced to fight against their will by Amanda Waller because of little bombs that are implemented inside their head, which Waller can activate at any given moment.

Waller sends the team of Arkham misfits to Metropolis, which is under attack by an all-powerful villain known as Brainiac. It’s discovered that Brainiac has took control over the minds of four of the five members of the Justice League, which includes Superman, Batman, Flash, and Green Lantern, with Wonder Woman being the only member free from his clutches. At first, the team is instructed to find a way to free the male league members from Brainiac’s control and save them all from their evil form. However, after encounters with a brainwashed Green Lantern and Batman along with butting heads with a brainwashed Flash, Waller and the Task Force team soon come to realize that saving them can no longer be an option. The only way to save Metropolis now is by killing the Justice League members all together with Brainiac along with them.

But because most of the Justice League consists of all-powerful superheroes that have special powers that no ordinary living being does, they can’t take beat them with their normal wits and weaponry but need knowledge and resources from a special someone to unlock the secrets to murdering each Justice League member one-by-one. That special someone is no other than Lex Luthor.

However, after something happens to the Arkhamverse Lex Luthor that makes him no longer available, the squad teleported themselves into the elseworlds (basically the DC equivalent of the multiverse) to find a Lex Luthor from another world. The elseworld Lex Luthor confirms to Task Force X that he had worked with the Lex Luthor from their world to prepare for Brainiac’s invasion after he failed to do so in his world. He agrees to go to the world of the Suicide Squad and help them find a way to stop Brainiac and the evil Justice League before Metropolis is completely destroyed.

Commanded by Amanda Waller and assistance from the likes of Lex Luthor and a still-good Wonder Woman, the Suicide Squad must risk their neck and lives to wipe out the members of the corrupted Justice League and Brainiac before even more damage is done in Metropolis and possibly the entire Arkhamverse and elseworlds.

Okay, before I got into how much this story just does not work in the context of being set in the same universe as the prior Batman: Arkham games, I feel like it’s only fair to discuss why this story just doesn’t work on it’s own terms. It starts off decent, with solid introductions to the squad, a fun tour of the Hall of Justice and viewing the status quo of the Arkhamverse, and a tense boss sequence once you come up against Evil Batman for the first time. However, after a somewhat promising start, it falls off the rails completely once it really gets going.

You have ideas and concepts that are barely explored, a pace that seems rushed and all over the place, outcomes of major characters that are handwaved and/or treated as edgy jokes, and an ending that makes it feel like nothing much was accomplished. It’s baffling after making fine use of it at the start that the story seems to lose interest in it’s own concept, trying way too hard to make the Suicide Squad the REAL heroes of the story and not act as the criminal freaks that they are.

The idea of the plot itself could make for a fun spoof of a comic book game storyline with such a ridiculously unapologetic “I don’t give a f*ck! We’re playing by our own rules!”, mirroring the likes of Deadpool, Metal Gear Rising Revengeance, and Sunset Overdrive. However, where as those games at least have a self aware charm to it that lets it’s audience in for such a crazy ride, Suicide Squad: Kill The Justice League comes across as more crude and mean spirited than anything else.

That’s not even going in how distractingly similar this is to the plot of Marvel’s Avengers (2020), which this game falls to many of similar trappings with but with different results. Just replace the Avengers with the Justice League, M.O.D.O.K. with Brainiac, and instead of saving the heroic team, you have to kill them, and it’s basically the same plot at it’s core. It’s so familiar that it makes me wonder if this was originally suppose to be a full-on Justice League game but decided it against after seeing the backlash that Marvel’s Avengers got.

When talking about this plot within the context of the Arkhamverse, it’s even worse. This doesn’t so much feel like a continuation of the Arkham canon but more as a 12 year old “What If?” edge lord fanfiction that has only slightly more thought put into it than that Death of Batman fan film. The characters brought back from the prior Arkham games don’t feel even remotely like their previous versions.

Harley seems to have long forgotten about her pudding (Which she doesn’t even say in the game btw!) and feels more in line with the Harley Quinn from the Max animated series than she does of her Arkham counterpart, and that’s not just because she revealed to have actually been in a relationship between Poison Ivy, despite them never EVER being a thing in the previous Arkham games. Riddler and Penguin feel like they were shoehorned in with not much explanation as to why they are no longer in Gotham. And I would say something about Batman’s characterization but I’m saving an entire piece for that.

It’s not that this story couldn’t work within the Arkhamverse but this just seemed like the very wrong game to continue that story with. It’s because having to focus on the Suicide Squad themselves that big questions that people have had since Arkham Knight such as why Bruce came back as Batman and when did the Justice League assemble are given the most “hand-wavey” answers imaginable that gloss over big important context. It only seems like Suicide Squad: Kill The Justice League was included in the Arkham canon just for the sake of boosting sales and NOT for the sake of expanding the world even further. When even Gotham Knights feels more like a thematically worthy follow-up to Arkham Knight, you have a big problem on your hand.

The only time the story itself shines is within the characterization of it’s main cast and a handful of interactions. The entire sequence in the first hour where you tour the Hall of Justice and see the way the Justice League team in this universe is characterized within recorded hologram messages is very satisfying to see. It really felt like the writers did their homework when it came to realizing the true appeal of these characters. So much so, it makes you wonder why they went through the trouble of making them feel likable when we are going to have to kill them anyway. The main standouts here involve Superman and Wonder Woman, who basically acts as the protagonist of the story and a guide for Task Force X themselves. It only makes you wish you were playing a Superman or Justice League game instead of this one.

The Suicide Squad members do get some fun moments to themselves as well. Even within the rather crude and tryhard like tone, there’s a few times where most of the jokes and banter pays off. The back-and-forth between the squad and the Flash is fun, it’s cute to see Harley being a Wonder Woman fangirl all of a sudden (even if it makes zero sense in the context of the Arkhamverse), Boomerang gets the most hilarious lines in the game and there’s one sequence which Amanda Waller goes batshit crazy that’s actually satisfying to watch. It sucks that most of the characters are as enjoyable as they are and makes you wish more effort was put into the actual plot itself.

The story itself is possibly the worst thing about this game. It doesn’t work as it’s own thing and it most CERTAINLY doesn’t work as a continuation of the Arkhamverse. Even if there were ideas that might have been interesting on paper, the execution could not be anything less than before. It’s clear that the story took a backseat for everything else about this game and it clearly shows.

However, considering this is intended to be a live service game first, the gameplay is what matters the most. Does that fare any better? Kind of, but not really.

Gameplay:

Suicide Squad: Kill The Justice League is an action-adventure game that is set in the open world of Metropolis. It features four playable characters which are no other than the Suicide Squad members themselves. There’s Harley Quinn, Deadshot, Captain Boomerang, and King Shark.

Despite all four characters controlling similarly, each of them has their own kind of weapons, melee combat style, and traversal method for them to chose from. When it comes to weaponry, it involves each class being shared by two of the four characters that are available at the time of release. When it comes to unique move sets and ways to travel, each of the them has a feature that stands out. You have Harley Quinn that has a baseball bat and travel using Batman’s grapple gun, you have Deadshot that has his own guns and can jetpack his way throughout Metropolis, you have Captain Boomerang that can you his boomerang to teleport to where ever it goes and his own gun, and you have King Shark that can jump high and far and his own lovely machine gun. Despite having similar controls, they all are designed to feel differently from one another, making certain missions feel like you should play as one specific character over the other three.

There is also a progression skill tree that is included here. It allows for player to level up to stronger and different skill sets at any point of the game. The more enemies you kill and more missions you complete throughout the game, the higher your ranking will go for ever character. However, each character can only level up individually and is not something you can do with the whole group at one time. The only exception is if you playing through multiplayer mode.

And speaking of multiplayer, while the entire game can be played solo, it does include a four-player co-op multiplayer mode, that can be play with someone you are playing with in person or through online. When playing solo, players can switch between any characters while the other characters are controlled by the game’s AI. However, you aren’t allowed to switch between different characters during a certain mission and can only do that again once you have completed that mission or die before switching up again.

When it comes to the missions themselves, there is literally about three different types that are introduced here. All of them are ones you can beat with the most mindless button mashing and straight forward objectives imaginable for a loot box filled, third-person shooter. You have missions where it involves taking control of enemy bases, there are missions where you have to protect enemies from your allies, and missions where you have to escort someone in a big truck. And that’s basically it when it terms to variety with the missions.

None of them play differently than the other, there’s no interesting mix thrown in between each one, they don’t seem to get much harder or easier as it goes on, and it involves accomplishing the exact same objective over and over and over again. Sure, playing the missions as each individual character can make the experience slightly more different but once you beat each one of these missions with all four members of The Suicide Squad, you have basically seen everything that the missions in these games provide.

I wish I could say more but that’s just about how the mission structure is laid out throughout the entirety of the game. It’s the same rinse and repeat formula that makes each objective clear as daylight without much new added to it except you are playing as DC bad guys now instead of super heroes. It’s certainly functional and works the way it was programmed but there’s very little variety here and that makes it feel like the same loot box, third-person shooter but with a different coat of paint.

The only other exception for the variety of missions are the sections with The Riddler. Yes, The Riddler has returned in the Arkhamverse and is now in Metropolis instead of Gotham for some odd reason that is never explained. As with the prior Batman: Arkham games, there are side quests and missions where you can go out of your way to collect Riddler trophies that are scattered throughout the open world, solve puzzles that have been laid out in the map, and designed obstacle courses that you are given a star rating on depending on how fast you are able to complete each course.

Even taking out the fact that The Riddler’s return here makes ZERO sense in terms of story, I really don’t see the point of these side missions existing. There’s nothing creative or inventive about any of the courses and you never feel the strong desire to take time out of the main story to collect these trophies and solve the puzzles. At least in the prior Arkham games, doing all of The Riddler’s work felt rewarding by the end of it and made beating him all the more satisfying. Unless you are an achievement/trophy whore, you will not feel any obligation to want to play these side missions. I never even bother looking up to see what happens when you get everything or if there is a cutscene with him because I was so uninterest in his presence here.

Just like the story itself, it only feels like The Riddler’s missions are here because they were a staple of the previous Batman: Arkham games and Rocksteady hoped it would help with sales by banking on that Arkham nostalgia. Also, apparently, The Riddler also took time out of its day in the actual ELSEWORLD to laid out trophies to find and puzzles for you to solve. Can this guy just go away please?!?! I NEVER want to see his face ever again!

And of course, there’s the main selling point of the game, the boss fights with the evil corporate versions of the Justice League and eventually Brainiac himself. Throughout the game, you will eventually find yourself encountering with one member of the Justice League, aside from Wonder Woman, and you will have to face off against them. What should be the best part of the game is unfortunately no different than the missions you are already playing.

Sure, some of the earlier boss fights in the game are somewhat different and even fun to play. However, after the first two, it’s like the developers either ran out of money or simply stopped caring because it soon revolves to the same rinse and repeat formula. Even the final boss with Brainiac, is largely just the EXACT SAME BOSS as the very first one in the game. I’m not even joking! He even transforms in that EXACT SAME CHARACTER! How lazy can the developers possibly be!

All these fights come up to is shooting the enemy with one gun, shooting the enemy with another gun, and tossing a few grenades to increase the damage. All you have to do is perform these move sets multiple different times without too many hits and you’ll eventually get them. It’s odd how the story implies that there are only certain ways to beat the Justice League but when you can confront them, it mostly involves just doing the exact same move set you were doing when fighting previous enemies. If this is not the most washed up Justice League that’s ever existed, then I don’t know what is.

When describing the gameplay overall, it’s functional and competent but there’s no variety here whatsoever. There’s nothing here that’s aggressively glitchy, impossible to control, or inherently broken. Aside from having to get used to the different ways certain characters control along with the occasional times I would have to restart the game because my internet disconnected for a split second (Again, WHY is this live-service?!?!), there was nothing here I found inherently difficult to play or get used to. As a matter of fact, once you start to get the hang of it, there is some MILD enjoyment to be had here.

The real main issue here is it’s overall lack of innovation. It’s very clear that someone at Rocksteady and Warner Bros Games had a simple desire of wanting to match with the current trends of games that has grown accustom in the mid 2010s to now mid 2020s. The way the missions, open worlds, and amount of content both at launch and post-launch was clearly inspired by games hot at the moment such as Overwatch and Fortnite. However, where as those games were able to thrive off on unique character designs, creative mission and objective structures, and live-service elements that actually ADDED to the game rather than hinder it, Suicide Squad: Kill The Justice League plays off more like if you just took these characters and plunged them into one of these worlds but remove any of the fresh and uniqueness of those games.

Once you really get the hang of the formula of the game, there’s not much here that hasn’t been done in literally every other live-action service game. Once you played all four of these different kinds of mission I mention earlier, you have basically seen everything that the game itself has to provide.

On one hand, that might be a welcome thing to certain folks. After all, in an age where Generation Z tends to have a much shorter attention span than before (and I say this as someone that is in fact part of that Generation), this kind of game is always welcome. It’s basically the perfect game to play while listening to a podcast and watch YouTube too. This was clearly aimed to cater to a certain ground that enjoys those “turn your brain off” games that involves simple button mashing.

If you are part of that group (and again no judgement here), you might enjoy this game. However, for those that were expecting even the tiniest bit of innovation on part with Rocksteady’s previous work and to not fall into the trappings that took down previous live-service superhero games such as Marvel’s Avengers and Gotham Knights, you will likely find yourself disappointed.

Of course, there is also the mention of the confirmed post-launch content (which I go into more in the Upcoming DLC section) that the game itself will provide in the form of seasons throughout the year. There has been confirmation of what Season 1 will include along with teases of what Seasons 2 through 4 will have. There’s even been leaked audio recording of certain characters that could make a surprise return or appearance.

For a while, this was the most controversial aspect of the game. Yet again, here we have a game with required online services with developers that have a hard-on for season passes and loot boxes. Much like Marvel’s Avengers, it feels as if the main full game had only scratch the surface of the main gameplay because it’s saving the extra content for the future. However, if there is one thing that Suicide Squad: Kill The Justice League has over Marvel’s Avengers, it’s that that content has been confirmed to be free and you can unlock certain loot boxes and items WITHOUT having to pay more money out of your wallet.

While there are definitely loot boxes and special items that should have been unlocked at the start of the game, these are all still free and things that can be unlocked the further you play along in the game. It might take a little extra work but it’s not more work you are forced to spend a few extra dollars on, unlike say Star Wars: Battlefront II. And as I just said, the seasonal content that will be included with the game’s frequent updates is said to be completely free. No need to charge extra for the game, even if you have to wait a little longer than you should. Considering this game from the same studio that was charging a full season pass for the DLC for Batman: Arkham Knight, the fact they are allowing this all for free is quite surprising and even refreshing. Too bad we have to wait until then to see if ANY of those factors come with the seasonal content!

While certainly not as lackluster as the main story itself, the gameplay of Suicide Squad: Kill The Justice League leaves PLENTY to be desired. It’s playable, functional, has and/or will have free extra content, and once you get the hang of way each character’s control and their playset, it can be enjoyable at times. The problem is that we have seen this done with MULTIPLE other games and done MUCH better in other live-service games. There’s no variety in the missions, no progression system that makes you eager to level up your characters to the highest degree, and the boss fights with the Justice League could not be more underwhelming.

It’s an absolute shame that the game itself doesn’t even bother to hide the fact that it’s basically chasing trends and Rocksteady isn’t trying to be as inventive as it once was. Whether this is their doing or Warner Bro Games’ doing is beyond me but it still stinks regardless. If the main objective of Suicide Squad: Kill The Justice League was to prove that live-service superhero games can in fact work, it failed spectacularly.

Graphics:

Normally, I would say the graphics for Suicide Squad: Kill The Justice League are about as good as it can be for a next-gen 2024 game. After all, the environments look good, the models for the characters fit their designs incredibly well, the cutscenes are delivered at top notch, high quality, and the fact I’m able to see Metropolis exist in the Arkhamverse makes it itself a treat for the eyes. However, following Batman: Arkham Knight, which set a high standard for quality in terms of graphics that still hold up SPECTACUARLY nine years later, I can help but see it as quite a downgrade. Expectations on that front was always gonna be near impossible to match but it really doesn’t seem like anyone at Rocksteady even attempted to top or at least match it, which is the most unfortunate.

I understand that perhaps Rocksteady was wanting to go with more of a cartoon or comic book-like style considering this was meant to be a more gloriously excessive game that didn’t take itself as seriously as the other Batman: Arkham games but I kinda expected the next best thing to come in terms of the advanced technology they have worked on since 2015 and it doesn’t really show here. The game itself looks, sounds, and moves just fine (at least when your internet doesn’t disappear for a split second or later), but for those expecting the next best looking thing after Arkham Knight will likely be disappointed.

Sound:

The score for this game was done by composers Nick Arundel and Rupert Cross. Arundel returns here after doing prior gaming scores with Rocksteady with Arkham Asylum, City, and Knight. Cross, on the other hand, had done prior works in other entertainment medium such as theater (Hamlet, Frozen, Macbeth), television (101 Dalmatian Street, Everything Now), and film (Thor, Rise of the Planet of the Apes, Brave, Cinderella (2015), and Beauty of the Beast (2017)). Kill The Justice League marks only the second score for a video game he’s ever done, with his first being 2013’s Puppeteer. Despite having proven talent to do the score, I couldn’t help but feel the score was lacking.

While it does it’s job as delivering a more rock-and-funk feel to the whole game, I can’t recall very many tracks that stuck with me or made me want to go out of my way on my own time to listen to them on YouTube. The main track that stood out for me was Batman’s theme when he first appeared in the Suicide Squad’s first encounter, even if it felt like an unuse track in one of the Christopher Nolan’s Batman movie. There are also a couple of decent tracks with the Justice League themselves but aside from that, the score is serviceable at best and forgettable at the worst.

I knew this would have a different style of music compared to the prior Batman: Arkham games but it’s baffling how not one track stuck with me the way the best tracks of those games were able to stick with me and even the not-so-great tracks did.

The voice work in this game is very strong. Nearly every actor and actress notable here are able to fit their role perfectly and have their voices completely match the designs of the characters and the dialogue given to them. With at least one notable exception (which I will get into), almost every voice actor suits their role very well. The biggest standouts come from the Justice League themselves, so much so that it makes you wish you were playing a full game with them.

Nolan North is able to be as perfect as Superman as he is as Nathan Drake, Deadpool, and the Penguin (which he also returns as). He perfectly captures that sense of hope and optimism that the Superman character always stands for and even works when presented as evil superman. Scott Porter is able to get the game’s best laughs as The Flash, Dan White fits well as the John Stewart version of Green Lantern, and Zehra Fazal brings such raw charisma as Wonder Woman. And of course, even though having an evil Batman presence could not have come at a worse time, Kevin Conroy gave it his all as this more twisted version of Batman, clearly having an absolute blast in the role the whole way through. The Suicide Squad team along with the rest of the cast don’t measure as high as the Justice League members but they all do fine work (Even though I wish folks would bother to redesign video game characters played by Debra Wilson), with one notable exception.

That exception is no other than Tara Strong as Harley Quinn. I’m just gonna come out and say it….I can’t stand her as Harley Quinn. I’ve tried given her the benefit of the doubt many times in the past when voicing this character but I can no longer do that. Her HQ’s voice is just way too raspy, ridiculously high pitched, and sounds more like she’s trying to impersonate a cartoon character rather than just sounding like…..a person. And no, the fact that Mrs. Strong has revealed herself to be not so bright doesn’t factor into my opinion on her as the Joker’s pudding, she is simply not a good Harley Quinn whatsoever. Arleen Sorkin (May that angel RIP!), Margot Robbie, and Kaley Cuoco are the real trio of the Harley Quinn Hall of Fame!

Upcoming DLC:

As previously mentioned, Suicide Squad: Kill The Justice League will be provided with plenty of additional content that will expand the overall gameplay of the regular game. This will come in the form of seasonal passes that will be updated as the year goes on. All of these will be divided into four separate seasons that will unlockable new playable characters, new playable environments, new boss fights, new weaponry, new missions and activities, and even *shivers* new Riddler content because….why not.

Season 1 in particular has been confirmed to have a Joker from another elseworld as a playable character, new boss fights with the likes of Green Lantern and Superman, new playable environments, new dc villain themed weapons, new activities/strongholds, new Riddler content, and even two episodes with fan-favorite villains such as Two-Face and Scarecrow. Seasons 2 to 4 have not had much detail of it’s content just yet aside from most of the kind of content already mentioned but I wouldn’t be surprised to see us back in the Arkham Gotham that we all know and love.

Like with Marvel’s Avengers and even EA’s Star Wars: Battlefront 2, I’m sure this expansion of content might be good enough to improve the quality of the game for a good number of folks. Especially since, in this case, this is all said to be completely free content with no need to buy multiple passes or loot boxes.

On one hand, credit for Rocksteady to be able to avoid that trapping of trying to needlessly squeeze more money out of consumers, even if they couldn’t avoid the other ones. But considering the way that these along with other leaks gives confirmation that certain events from the game might be undone or rewritten entirely, it might just make the overall point of this game feel pointless. Even if those that hated the game will find themselves won over after certain characters are confirmed to be not dead after all, even they will wonder why this was made as DLC or seasonal content and not for say….it’s own actual game.

I don’t know if I will make a piece in the future once all this content is made available but considering it’s suppose to be free, I will certainly tried them out once they are released. Even if Rocksteady was basically forced by Warner Bros Games to make a game that rely heavily on live services and online action to chase the trends of Overwatch and Fortnite, this might’ve been the best results of this we could possibly get given the dire circumstances that surrounded it all.

Conclusion:

Suicide Squad: Kill The Justice League feels like a game that was basically doomed from the start. Not just because this was a game nearly a decade in the making and following Rocksteady’s previous track record with their successful Batman: Arkham games but it was basically by design made to chase the worst kind of trends in modern gaming imaginable. It does some of those trends better than most but like most, it’s own restrictions holds it back from its true potential.

It may get the job done by offering a typical action and shoot-them-up game for those that crave for it but it really doesn’t bother to be anything much else than that and basically hopes the upcoming seasonal content will be enough to save the day. And considering the vital reaction this game has gotten online, it will take a LOT of convincing for folks to get this game another chance once the expansion of content have arrived.

If Suicide Squad: Kill The Justice League is the DC equivalent of Marvel’s Avengers, then we can only hope that Monolith’s Wonder Woman will be the DC equivalent of Marvel’s Guardians of the Galaxy, a superhero licensed game that ends up being a pleasant surprise following a previous underwhelming superhero licensed game.

That being said, I sure can’t wait until Marvel responds to this game by making the game, Thunderbolts: Kill The Avengers game. That will SURELY be a banger!