#superhero film

[k-i-l-l-e-r-b-e-e-6-9]

The Crow (1994) directed by Alex Proyas

#the crow #1994 #The Crow (1994) #American superhero film #superhero film #Brandon Lee #Eric Draven #print #movies #90's #90s #90s movies #90's movies

[nine-frames]

"Please, let's have a little respect for public transportation."

Megamind, 2010.

Dir. Tom McGrath | Writ. Alan Schoolcraft & Brent Simons | Art Dir. Timothy Lamb

#megamind #us film #superhero film #animation #dreamworks #2010s #tom mcgrath #10 frames

[lumisentertainment]

Batman Beyond Poster by Mizuri Art

Epic poster for Batman Beyond: Year One by Mizuri Art!

There's just 11 days left in our Indiegogo campaign - please share to help the film reach its stretch goals!

#batman beyond #batman #dc #fan film #live action #terry mcginnis #short film #dc comics #bruce wayne #batsuit #indiegogo #crowdfunding #kickstarter #comics #comic book #superhero film #comic book film

[skeletonfumes]

Barb Wire (1996) David Hogan

#barb wire #david hogan #pamela anderson #mygifs #4 gifs #mygif #gif #filmedit #90s #superhero film

[macrosoft98]

ジェームズ・キャメロンのスパイダーマン

1990年、カロルコ・ピクチャーズは当初、メナヘム・ゴランから『スパイダーマン』の映画化権を500万で購入し、5,000万予算の同映画の製作を計画していた。 その後、カロルコはジェームズ・キャメロンを脚本、監督プロデュースに雇ったが、キャメロンが脚本を提出した場合、カロルコは報酬を支払わなかった。 『トゥルー ライズ』の撮影終了間近に、カロルコ・ピクチャーズがジェームズ・キャメロンから完成した脚本を受け取ったという発表がバラエティ紙に掲載された。この脚本には、ジェームズ・キャメロン、ジョン・ブランカト、テッド・ニューサム、バリー・コーエン、そして「ジョセフ・ゴールドマリ」の名前があった。 ゴランのペンネーム（「ジョセフ・ゴールドマン」）とマーベル幹部ジョセフ・カラマリの誤植。 脚本のテキストは、ゴランが前年にコロンビアに提出したものと同一であったが、新たに1993年の日付が追加されていた。

#Spider-Man #James Cameron #Leonardo DiCaprio #Nikki Cox #Film #Movie Poster #90's #Carolco Pictures #1990's #Marvel Comics #Spider-Man-The Movie #Arnold Schwarzenegger #Mary Jane Watson #Otto Octavius #Dr. Octopus #Doctor Octopus #Superhero Film #Superheroes #Comic Books

[thoughtfulbearpanda]

unpopular opinion

honestly...im glad that the superhero movies on the decline.

dont get me wrong i loved the first 4 phases of the MCU and the first few movies from DCEU despite the heavy criticisms those films got. 2012-2019 was a good era chock full of great superhero films. (with the exception of The Batman 2022)

but all good things must come to an end

in recent years superhero movies have been lacking in quality. the general public does not care anymore. The original actors from the MCU have moved on to other projects. DC just lost most, if not all, of its loyal fanbase with the recent firing of Henry Cavill, the alleged recasting of Gal Gadot and Jason Momoa, and the supposed reboot 10 yr plan that no one asked for.

No one cares anymore. And that's good thing.

Hollywood has been using superhero films as a crutch and a quick crash grab that they dont know how to make films anymore. so now that superhero movies are becoming no longer profitable, Hollywood will now be forced, hopefully, to start trying again.

TL;DR, im glad the superhero genre is declining and i hope that we start seeing an increase in real stories and films again

#mcu #dceu #superhero #superhero film #hollywood #filmmaking #storytelling

[if-you-fan-a-fire]

X-Men: The Final Solu--er, Last Stand

[One of my fav reviews I read way back in the elder days of blogs...that is, June 1, 2006. I’ve realized that some of the formative pieces of reviews I read when a much more callow youth are disappearing or already disappeared from the internet, so I’ve decided to start saving them on here for my own memory. This critique of X-Men 3: The Last Stand actually touches on a lot of ongoing issues with the superhero film and comic as a genre. Bionic Octopus was last updated July 18, 2006.]

GIANT SPOILER WARNING: I am about to reveal or refer indiscreetly to practically everything important that happens in 'X-Men III'. If you wish (though I don't advise it) to save yourself for the cortex-searing cocktail of geek disillusion and drop-jawed political aghastness that is this cinematic artifact, run away now. Also, much detail is required for analysis purposes, so this is fucking long. Don't say I didn't warn you. Right. First let me preface by saying that I fucking love X-Men. I was ridiculously excited to see this film. Excited unto sitting through the ubiquitous trailers and TV ads with my eyes squeezed shut and my ears finger-stoppered chanting lalalalalalalalala, to the undoubted joy of my neighboring movie-goers, so as to escape the slightest hint of spoilage. And of course I secretly knew it would be disappointing, as any 3rd epigone in a beloved franchise will inevitably be. (Beyond 3, I know better than to shell out even two hours of Sunday afternoon cable-watching, let alone actual coin.) What I didn't know was that it would be, hands down, the most overtly, unapologetically reactionary piece of 'entertainment' I can remember seeing. 'X-III', or as I like to call it, 'Kapos Without a Cause', is effectively a manifesto for the implosive capitulation of liberal political ethics into its own hollow, convictionless, security-craving heart. It is the Democrat Police-State Summer Blockbuster. [Interlude: let me now, against the very slight risk of being blindsided later, allow for the possibility that this is in fact a shockingly sophisticated piece of left-political critique in deep, deep, DEEP cover. There are actually several things about the film that make me think this is a genuine possibility, but ultimately we have to engage with the argument the film appears to make and authorial intent be damned. And as it plays on the screen, this is a film about the heroism of kapos. But just in case it comes out that Brett Ratner is actually a savage Swiftian cryptoTrot for our time, let it be known that I thought of that.] The premise: post the thwarted mutanticidal ambitions of William Stryker in X2, (American) humans and mutants are at last coexisting in apparent harmony, complete with (the freakishly appropriately-cast) Kelsey Grammer as a big blue furry Secretary for Mutant Affairs in the Presidential Cabinet. But of course all is not durable serenity: a pharmaceutical company has developed a 'cure' for mutants, copied from the DNA of a little mutant boy called Leech. (They keep him shaven-headed and white-clad in a sealed room with a very big television, as one will do. He seems limply ok with this plan, though no one on either side ever appears to ask him.) Cue queer-style identity politics: many see the 'cure' (quite correctly) as an attempt to pathologize their mutant identity as a disease, while others queue up to get their normal-shots (including Rogue, whose sole, and blessedly scant, function in the film is to enact an odd little embedded High School Misfit narrative: her mutation means she can't touch her boyfriend, which granted does suck, and she miserably suspects him of running around with another girl. In the time-honored self-hating-misfit move, she runs off secretly to get fixed, and we confidently expect that at the last minute she will learn to Love Herself and Value Her Special Difference, and not get cured after all. Hold that thought). Protests, factions, confusion. Isn't it awful? What to do? Then Magneto shows up to organize a real resistance, and the fascist fun begins. It quickly emerges that the 'voluntary' cure has already been weaponized by the government (poor Mystique is shot with it, and is turned speedily and permanently into a pink, naked and oddly chunkier Rebecca Romijn; NB: head-to-toe teal apparently slimming). By way of justification, the supposedly mutant-friendly President tells outraged Mutant Affairs Secretary Beast that 'I worry how democracy survives when a man can move cities with his mind.' Apparently in this model democracy survives by forcibly genetically bleaching that man, along with any other inconveniently-abled citizens. Beast has a hissy fit, denounces the weaponized cure, and walks out on the government to join his X-friends at Xavier's School, where they all stand around looking Very Concerned about how awful it is, consider packing it all in and then boldly decide to, er, continue holing up in their posh private school. This is the bold plan, mind you. Magneto meanwhile has been busily gathering a throng of radical followers--naturally pierced, dyed, gender-ambiguous and gothed-up to a man-woman--and they all convene in a forest encampment that evokes, surely non-accidentally, Robin Hood. Magneto delivers an address rousing the Brotherhood to fight the 'cure', and rather desultorily gesturing toward some kind of vague mutant-supremacy platform. (This is one of a small handful of moments thrown in to present him as an eville, heartless tyrant-presumptive; the problem being that they're so lazily conceived that they're completely inconsistent with his character and thus completely unconvincing. The sloppiest, and nastiest, of these is when devoted henchmina Mystique, 'cured' and lying naked and helpless on the floor, looks up plaintively and says, 'Eric...?', to which Magneto icily replies, 'You're no longer one of us', turns and leaves her there. This makes exactly no sense in the context of his character, which has been notable for its loyalty, even to King Kapo Xavier. A clumsy smear-job.) Meanmeanwhile, having died so promisingly in the end of X2, Jean Grey has come back as the unpromisingly dyed, issuetastic Phoenix and, rather redeemingly, appears right off to have iced Cyclops, her old lover. Dr. Xavier supplies the charming back-story of how, when Jean was but a wee mutantette, she was like totally the Most Powerful Mutant Ever, and for reasons unspecified (but in fact embodied in the entire program of the film) we couldn't have that, so he whisked her off to his school and handily created a series of blocks inside her mind. This caused her to develop a split personality and bury all her impulses of joy, desire, anger and power in the id-persona Phoenix, leaving the sensationally insipid control-shell Jean Grey to struggle pathetically at shifting pennies with her mind-fragment (not to mention at achieving some tepid flicker of chemistry with ultraweenie Cyclops). Man just out and says all this, as if he'd committed a perfectly understandable, justifiable intervention, instead of, oh, criminal therapeutic child abuse. Now of course the hellcat's out of the bag, and she is one supremely fucked-off megamutant. She explodes Xavier, which to be honest he pretty much deserves, then schleps conflictily off with Magneto (who btw tried to stop her killing Xavier; heartless and disloyal my ass) to Sherwood Base Camp (stopping on the way to pick up some curiously ill-fitting gothwear). Now Magneto and his posse have The Ultimate Weapon. But ahhhhh, can they control her? This is the last point at which the movie bothers to make any kind of narrative logical sense. Wolverine shows up to try to get Phoenix/Jean (Jeanix?) back, and on the way kills an absolute fuckload of other mutants in Magneto's camp, basically just cuz. (Wolverine's body count in these films has always dwarfed the entire rest of the cast's combined, but this is the first time we see him killing almost exclusively other mutants. I don't believe this is the slightest bit accidental. By the end he will become the prime motivator of the X-Men going out deliberately to kill untold other mutants in order to save [actively mutanticidal] humans--the precise inversion of his role in X2, and the sad resolution of the major ongoing storyline across all three films: the taming/reclaiming of Wolverine into a tool of the state that, in its most pathological [but still broadly sanctioned] incarnation, created him. Poor Wolverine; he was better than this. And to add insult to injury, they present his domestication as if it meant he's finally grown up.) Jeanix just sort of looks at him for a bit, and then Magneto hucks him magnetically off into the forest far far away, so he mopes blowdriedly back to the school. Magneto broadcasts a public service announcement on Fox News telling the humans to stay out of the Brotherhood's way and don't fuck with their mission, or prepare to get squished. That irritating fire-boy from X2 (now abruptly risen to #1 Magneto henchman; man does go through minions) blows up the pharm company's office building, and then they all set off to uproot the Golden Gate Bridge so they can take it to Alcatraz Island, where the labs and the cure-mutant are kept in ostentatiously remarked-upon impregnability. (Unclear to me why they couldn't simply have taken some kind of boat to Alcatraz, much as I did myself some years ago for the rather tedious prison tour.) All in all, we are rather generously treated to the spectacle of Resistance Going Too Far. As soon as we use violence, you know, They Have Won™. Thing is, though, nobody actually ever does argue that Magneto's position is in any way incorrect, either factually or morally. We're simply strenuously informed that he is being not at all nice about it. Meanwhile, back at the plush, leafy Westchester X-ranch, the (mysteriously decimated; could they not afford scale for more than 6 speaking X-Actors?) gang are gearing up for war. Not against the government that is openly preparing to retro-eugenically bleach them. No suh. Rather, they get their war on and go jetting off in defense of the forces of genetic fascism, seemingly because Magneto's lot are preparing to inflict some property damage and kidnap Cure-boy. Very Important Note: at no point do the (clean-cut and J-Crew-clad) X-Men ever actually say out loud why it is that they must go out to oppose Magneto's (gothy-punky) resistance. There is no 'But if he succeeds in doing Thing N, the world will end/humanity will be wiped out/mutanity will be wiped out/puppies everywhere will die horrible deaths! Quick, to the X-Jet!' In fact, quite the reverse. All that's happening is that the resistance is going to fuck up a factory, to stop production of the eugenic weapon that does in fact threaten to wipe out all mutants, including the X-Men. And yet without a second thought the latter are off to oppose the saving! At Wolverine's urging they stand, literally six of them heroically Holding The Line, to protect hundreds of human soldiers, who are at that very moment in the process of firing cure-weapons at their fellow mutants, from being overrun by Magneto's insurrectionary Brotherhood. Because here's the thing: it's not that the Brotherhood's opposition to the cure is aberrant; we got some terribly soul-sista-stirring lines from Storm earlier on about how awful and unacceptable the cure is. It's quite simply that they're doing it wrong. And when it comes down to a (really rather minor) crunch, the X-Men unhesitatingly lock and load on the side of Order, even when it means killing hordes of their own fellows to serve an authority that effectively wants to kill them all. What does that make the X-Men? It makes them kapos. This is rendered absolutely clear in the final boss-battle with Magneto, who, having succinctly identified them as 'traitors to their own kind', is handily kicking their asses by flinging burning cars at them from the bridge. In their huddled bunker, Wolverine looks down and sees a little clutch of cure-cartridges fallen from one of the soldiers' magazine. He and furry blue quisling Beast exchange a dawning, manly, determined look, a look in which the two give each other implicit permission to abandon any last tatters of independent moral compunction: Beast to betray his own earlier principled stand against that very weapon, and Wolverine his very self, constructed in resistance against the genocidally normative forces that built both his skeleton and the cure-weapon. And so they make a sneaky little plan, and they go out and defeat Magneto by stabbing him from behind with that handful of cure-darts. They use the enemy's anti-mutant weapon to kill the mutant Magneto, reducing him to the helpless, unwilling human Eric Lensherr. (The Eric Lensherr who, as all three films repeatedly emphasize, was not only a victim of Nazi genocide, but whose mutantness opened the whole trilogy in that searing scene that constructs the boy Eric's suddenly-emerging mutant identity as a desperate, somatic act of resistance against that genocide--an act that has its fleeting moment of efficacy before he is overcome and beaten down by the agents of fascism. These films will not let us forget that central fact of Magneto's identity. This is actually Thing #1 that makes me wonder whether something might be Going On with this film. The interplay between Magneto's mode of defeat and his so-emphasized Survivor identity is so overt and telling that, if it isn't meant as some kind of inversion, those responsible are astoundingly thick. I'm just saying.) I can scarcely think of a scene more chilling in a film, ever. That's really the climax, or I should say the nadir, of the film. That's the money shot, the pragmatic payload of 'X-III': real heroes will stick at nothing, will collaborate in the basest atrocity, to fulfil their empty, mechanical, ineluctable, fratricidal obeisance to Order. For fuck's sake, no one even called and asked the X-Men to go stop Magneto. There was no actual content to their impulse, stated or implicit. They just upped and did it, because that's what they're for. Does any of that start to sound familiar at all? Does it sound like an epically-enhanced depiction of a political party so abased before the imperative of Order that, unasked, it will savagely censure its own members rather than allow 'uncivil' opposition to the party it faintly purports to oppose? That it will freely deploy the enemy's ideological weapons of 'patriotism' against its own, rather than let them question the extinguishing of individual liberty in the name of Order? That it will volunteer legislation designed to out-draconian the demonic fever-dreams of the party in power, so that if it must attack that party it can do so on the grounds that the governing party is not sufficiently attending to the maintenance of Order? That is the yawning moral vacuum, contentless yet bizarrely active, of the Democrat-liberal political existence, and it is not merely justified but celebrated in this film. The denouement is stunningly reactionary: status quo restored with a vengeance; well-behaved mutants returned to nice, quiet, separate-but-equal 'coexistence' in their lovely green island of mutants-only privilege [cough-Israel-cough]; nasty radical mutants violently killed or 'cured' or both; 1-2-3 manicured graves in the garden of the Xavier School, sedate monuments to those who fell in sacrifice to almighty Order (no graves for the scores of rebel mutants killed, most of them by Wolverine, the rest by the effects of being forcibly 'cured' while, say, clinging mutantly to the underside of a hundred-foot tower); and most jaw-dropping of all, Capo di Tutti Kapi Beast rewarded with, I shit you not, the post of Ambassador to the UN. (That's Thing #2 in my Something's Up Suspicions List: in the era of John Bolton, could anyone posit that reward with a straight face?) (Thing #3, fwiw, is the extremely odd resolution of the Rogue subplot: she goes through with it. When she comes back to the school, we're quite obviously set up to expect that she's had the requisite change of heart and learned to love herself just as she is. And yet she just fucking hasn't. She's just gone and got normalized, in defiance of every teen film ever, and it's quite obvious from the unenthusiastic finger-twine she gets from Bobby that she is so not going to get the boy. What is that about? It's about something, clearly. This film's desperate, rationality-trumping need to stamp out desire in all its forms is the subject for a whole ‘nother essay. Most obviously: in Boss-Battle 2, when Phoenix has gone all glowy and is threatening to bust up everything and everyone, why exactly is it necessary for Wolverine to kill her, when they have conveniently on hand the little cure-boy whose precise power is to deactivate other mutants? Because she is embodied desire, and you'll recall that we couldn't have that. It must be slaughtered in sacrifice. And poor Wolverine has to do it, to seal his self-surrender. And, most horribly, Jean has to recognize and welcome that necessity in the moment of her death, and forgive him with her eyes. A thousand, million, billion times ew.) This film is an absolute paean to jackbooted collaborationism. One is accustomed to science fiction that critiques fascism from the liberal (and harder) left, as well as that which celebrates it from the right, and that which glares dyspeptically at both from the 'apolitical' outside. The startling, if dubious, innovation of 'X-III' is in presenting a glorious vision of the soi-disant left heroically facilitating the ends of fascism. A document for our times, indeed.

#x-men #x-men 3 the last stand #brett ratner #critical review #movie review #blogspot #elder days of blogs #wolverine #magneto #magneto was right #jean grey #brave defenders of the status quo #superheroes #superhero film

[squirrelfm]

Howard Hughes: "How did it feel, strapping that thing to your back and flying like a bat out of hell?"

Cliff: "It's the closest I'll ever get to heaven.”

#rocketeer #the rocketeer #rocketeer film #90s movies #90s films #superhero film #superhero movie #disney movie #disney films #terry o'quinn #billy campbell #alan arkin #jennifer connelly #paul sorvino #timothy dalton #cult film

[schlock-luster-video]

#orgazmo #trey parker #matt stone #comedy movies #superhero film #superhero movies #indie fipm #black comedy #satire #satirical comedy #matt stone and trey parker #hong kong #parody film #parody movies #movie art #art #drawing #movie history #pop art #modern art #pop surrealism #cult movies #portrait #cult film

[richdadpoor]

What'd You Think of Blue Beetle?

Image: Warner Bros./DC Comics Warner Bros. has spent years announcing (and quietly canceling) DC movies of all different shades, which made it a bit of a surprise that a movie based on Blue Beetle actually made it to release. DC films have been in an odd place for nearly a decade now, and this movie was now different, having originally been intended for HBO Max before getting boosted to a…

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#American culture #Blue Beetle #Culture #dc comics #DC Universe #Entertainment #Gizmodo #HBO #Jaime Reyes #Super #Superhero fiction #Superhero film #Ted Kord #warner bros #Xolo Maridueña

[kekwcomics]

SONICMAN aka SUPERSONIC MAN (1979)

With Cameron Mitchell !

#sonicman #sonic man #pulp #science fiction #superheroes #pulp science fiction #superhero movies #superhero films #superhero film #pulp superheroes #70s pulp #70s science fiction #70s movies #70s film #1970s movies #1970s aesthetic #1970s films #cameron mitchell #vhs aesthetic #vhs #vhs tapes

[k-i-l-l-e-r-b-e-e-6-9]

𝔍𝔞𝔠𝔨 𝔑𝔦𝔠𝔥𝔬𝔩𝔰𝔬𝔫 𝔞𝔰 𝔱𝔥𝔢 𝔍𝔬𝔨𝔢𝔯 𝔦𝔫 𝔅𝔞𝔱𝔪𝔞𝔫 (յգՑգ) 𝔡𝔦𝔯𝔢𝔠𝔱𝔢𝔡 𝔟𝔶 𝔗𝔦𝔪 𝔅𝔲𝔯𝔱𝔬𝔫

#Jack Nicholson #the Joker #Batman #Batman (1989) #superhero film #DC Comics #fictional character #antagonist #tim burton #80's movies #80s #80's #1989

[nine-frames]

"You know I can't smile without you..."

Hellboy II: The Golden Army, 2008.

Dir. & Writ. Guillermo del Toro | DOP Guillermo Navarro

#hellboy ii: the golden army #hellboy #guillermo del toro #guillermo navarro #us film #comic book film #superhero film #action adventure #2000s #10 frames

[lumisentertainment]

The Kickstarter for our BATMAN BEYOND live action fan film has launched! Please check it out and support if you can - any donation or just sharing the news will help!

#batman #batman beyond #terry mcginnis #batman film #dc #dc comics #superhero #superhero film #batsuit #costume design #bruce wayne #live action #fan film #kickstarter #crowdfunding

[cinematicct]

Batman Returns (1992)

🦇🐈‍⬛🐧

Directed by Tim Burton, this superhero film shows Batman confronting the rise of a deformed crime boss known as the Penguin and his complex love/hate relationship with Catwoman.

The cast includes: Michael Keaton as Bruce Wayne/Batman, Danny DeVito as Oswald Cobblepot/The Penguin, Michelle Pfeiffer as Selina Kyle/Catwoman and Christopher Walken as industrialist Max Shreck.

Michael Keaton has the potential qualities of a conflicted hero whose vigilantism is further explored as he comes across not one, but two enemies. Danny DeVito is dead-on creepy yet fantastic as a foul villain (pun intended). Michelle Pfeiffer raises the bar as the perfect (or purr-fect) embodiment of both a meek secretary and a mysterious cat burglar. Christopher Walken is immensely brilliant as a twisted, powerful businessman responsible for the birth of Catwoman and orchestrating the Penguin’s campaign to run for mayor.

What’s unique about this film is unlike other superhero movies, this one is mostly focused on the lives of the antagonistic characters. Although an official sequel to 1989’s Batman, the movie is not entirely focused on Bruce Wayne. Instead, you see the shocking backstory of Oswald Cobblepot, lowly day-to-day life of Selina Kyle and their dastardly ambitions.

On that note, the story demonstrates the duality of the villains as well as the hero. Bruce Wayne is overwhelmed by the difficulty in reconciling his personal life with his nightly heroic duties. Oswald Cobblepot is a misshapen outcast disposed and raised in the sewers of Gotham City. However, Bruce is accustomed to loneliness, whereas Oswald wants to gain acceptance despite his diabolical plan for citywide domination. Moreover, while Batman wears a mask, the Penguin embraces his freakish nature. Selina Kyle used to be completely insecure as she originally worked as Shreck’s assistant. As Catwoman, she mainly seeks revenge against her former boss. Along the way, she forms an association with Bruce Wayne but a strong resentment of Batman, unaware that Bruce and Batman are one and the same. She even forms an alliance with the Penguin to discredit Batman.

The costumes play an essential part for each character. The Batsuit is mechanically aerodynamic to combine darkness with armed military forces. Selina’s cat suit represents the confident yet devious mindset of her alter ego. The outfit and cat mask are made of glossy black leather with noticeable stitching to reflect her sleek design. On top of that, she’s equipped with a bullwhip (a device that somewhat resembles a cat’s tail) and retractable claws made from sewing needles. The feline getup basically goes to show that while she might seem enticing, Catwoman is extremely skilled in combat and very lethal. Though if you look at her from another perspective, aside from her machinations, Catwoman is also a symbol of ultimate feminism. The Penguin is a rotund figure, wearing Victorian-style clothes to blend in among Gotham’s elite. But it’s the makeup and prosthetic appliances that actually transform Danny DeVito into the nefarious villain. The grotesque oddities include: his long, messy hair, beak-shaped nose, white face with dark circles around the eyes and flipper-like hands that only have a thumb and index finger on each one. This startling work of art gives the Penguin both his bizarre appearance and crazed animal behavior. Plus, he’s armed with a variety of weaponized umbrellas that act as guns, knives, etc.

The visual effects employ many innovative techniques: the Bat-Signal (along with the occasional swarming of bats), technological morphing of the Batmobile, acrobatic tricks/surprise attacks from the Penguin’s troupe of deadly circus performers called the Red Triangle Gang and a massive army of penguins (a combination of live penguins and animatronics).

In terms of a great soundtrack, the film includes an original song by British rock band Siouxsie and the Banshee: “Face to Face”. It not only contains subtle references to the hostility between Batman and Catwoman, but it is heard during the scene where Bruce and Selina share a seductive dance at a costumed ball.

Thanks to the brooding genius of Tim Burton, we see three characters of different identities with one thing in common: they intend to find a way (whether good or bad as the story takes place during the Christmas season) to cope with the inescapable oppression of society. All that said, I recommend this visually stunning masterpiece to every Batman (and Catwoman) fan.

#Batman Returns 1992 #DC Comics #superhero film #tim burton #michael keaton #Bruce Wayne #danny devito #oswald cobblepot #the penguin #Michelle Pfeiffer #catwoman #batman in film

[shadowdemon-gd]

Saw Shazam! Fury of the Gods today

#shazam #shazam 2 #shazam! #shazam! fury of the gods #shazam fury of the gods #shazam: fury of the gods #shazam! 2 #shazam! movie #shazam movie #dc universe #movie #movies #film #films #dc movie #dc movies #superhero movie #superhero movies #superhero film #superhero films #dc film #dc films #cinema