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Posts Tagged ‘Zack Snyder’

Another New Frame by Frame Video – Batman v Superman

Thursday, September 24th, 2015

Ben Affleck and Zack Snyder on the set of Batman v Superman: Dawn of Justice.

Curt Bright and I have really been pumping these Frame by Frame videos out – three in the last week alone! This time around, it’s the new Batman v Superman movie, directed by Zack Snyder, on which I have real reservations. As I note in the video commentary, this seems like reaching for the end of the franchise waaaaaay too soon – the comparison I make is Frankenstein Meets the Wolfman (1943), which spelled the beginning of the end for the classic Universal monster series, and led to the “monster rally” films House of Frankenstein (1944) and House of Dracula (1945), before the entire franchise collapsed in parody with Abbott and Costello Meet Frankenstein in 1948.

Frankenstein Meets The Wolfman has much the same basic plot arc as Superman v Batman, but with Snyder’s film, it proved necessary to turn Superman into something of a villain, seemingly out of control, thus forcing Batman to travel to Gotham City to challenge Superman, who is suddenly seem as a threat to humanity, rather than a savior, his more traditional role.

As Snyder told Katie Roberts when he undertook the project, “after Man of Steel finished and we started talking about what would be in the next movie, I started subtly mentioning that it would be cool if he faced Batman… You’re in a story meeting talking about, like, who should [Superman] fight if he fought this giant alien threat Zod who was basically his equal physically, from his planet, fighting on our turf… You know, who to fight next?… But I’m not gonna say at all that when I took the job to do Man of Steel that I did it in a subversive way to get to Batman. I really believe that only after contemplating who could face [Superman] did Batman come into the picture.”

Which is all very well, but what’s the next act? And with Wonder Woman thrown in as an extra added attraction, along with DC superheroes Aquaman and Cyborg, all in their first live action big-screen iterations, it would seem to me that this is becoming more and more like a series ender, rather than a franchise extender. If you’re setting up this conflict, even if everything turns out all right in the end, which of course it will, you’ve nevertheless created a mash-up which could easily lead to parody, rather than an extension of the DC Universe.

Really, all of this is rather inconsequential in the long run, at least for me, but for fans, I think this is starting down the road to a series of films with endless cataclysmic fights, explosions, and violence, rather than character development, in which the members of the DC universe are shuffled on screen for some marquee time, and then moved off into the shadows, waiting for the next franchise entry. But we’ll find out soon enough whether or not it works. And meantime, when is the Wonder Woman film going to come out – were going to have to wait until 2017 for that – long overdue!

Coming in March 2016 to a theater near you: Batman v Superman: Dawn of Justice.

Reset! More Than 700 Posts On This Blog! Back To The Top!

Saturday, September 12th, 2015

There are more than 700 entries on this blog. Click on the button above to go back to the top.

Frame by Frame began more than four years ago with a post on Nicholas Ray– now, with more than 700 posts & much more to come, we’re listed on Amazon, in the New York Times blogroll, and elsewhere on the net, as well as being referenced in Wikipedia and numerous other online journals and reference websites.

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There are also more than 70 videos on film history, theory and criticism to check out on the Frame by Frame video blog, arranged in carousel fashion to automatically play one after the other, on everything from Fritz Lang’s Metropolis to film aspect ratios, to discussions of pan and scan, Criterion video discs, and a whole lot more.

So go back and see what you’ve been missing – you can always use the search box in the upper right hand corner to see if your favorite film or director is listed, but if not, drop me a line and we’ll see if we can’t do something about it. We’ve just updated our storage space on the blog, so there will be plenty more to come, so check it out – see you at the movies!

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Film Vs. Digital – The Battle Continues

Saturday, September 12th, 2015

As Hugh Hart reports in the Summer 2015 issue of The DGA Quarterly, the battle is far from over.

Writes Hart, “Even after Richard Linklater shot his DGA Award-nominated movie, Boyhood, on film, the Austin-based director had no qualms about switching to digital video for his upcoming ’80s-era comedy, Everybody Wants Some. ‘I’m not an absolutist so I’ve never really bought into digital versus film,’ Linklater says.

‘Film history is full of these little bursts of, “Oh there’s a huge paradigm shift!” and then it kind of recedes back to what filmmaking is at its core—storytelling. And behind that storytelling is a director and a creative team making aesthetic choices: What should the movie look like? What should it feel like? To me, that’s the director’s job.’

And those aesthetic choices continue to include the option to shoot on film thanks in part to Christopher Nolan’s advocacy. The British-born filmmaker, who’s shot all of his movies on film stock, has no interest in imposing personal taste on other artists. Instead, he wants to fortify the integrity of the director’s voice. ‘I’m not anti-digital in any way, but I’m absolutely committed to getting this choice back into the hands of the director. I don’t want anyone telling any filmmaker they can’t shoot on film any more than I want anyone telling David Fincher or Steven Soderbergh that they can’t shoot digital. It’s the director’s right. It’s their choice.’

Nolan became alarmed about the future of film last summer when Eastman Kodak Company, the only remaining manufacturer of 35 millimeter stock, threatened to shutter its photochemical film business. Kodak CEO Jeff Clarke explains the company’s dilemma: ‘We used to make prints for tens of thousands of theaters but over the past eight years, we went down 96 percent, from roughly 25 billion linear feet of film a year to half a billion.”

Faced with the prospect of stopping film production at the company’s upstate New York factory, Clarke decided to visit Los Angeles and meet with his customers so he could gauge Hollywood’s interest in the future of celluloid. As he visited studio executives, Clarke also sat down with Nolan.

‘The heads of postproduction and production at the studios had all basically told Jeff to buzz off: film’s dead, digital’s everything,’ Nolan recalls. ‘I turned around and said, “You need to be talking to a higher level because nobody running a Hollywood movie studio is going to want to oversee the death of a technology which not only is a prized part of our history; it’s also something we absolutely need for the future.”

Though he was deep into postproduction on Interstellar, Nolan got on the phone with filmmakers including Steven Spielberg, J.J. Abrams, Bennett Miller, and Judd Apatow. They, in turn, called the studios and lobbied for a continued commitment to the medium of film. Clarke recalls, ‘Within 48 hours of having lunch with Christopher Nolan, I’d gotten calls from five of the six major studios and a dozen of the most important filmmakers. At that point we were able to build a coalition.’

Martin Scorsese was another director who supported the Keep-Kodak-Open campaign. ‘Filmmakers should have the choice of whether they want to shoot on film, it’s important to have the option,’ he says. ‘Film has a history, and that history doesn’t begin with digital formats, it begins with film. … And that’s part of the art form—the light meets the emulsion and extraordinary things happen. So yes, I believe it is essential to preserve that choice.’ As a result of the high-powered lobbying, all the major studios agreed in February to buy contractually specified quantities of film stock from Kodak over the next several years.

The Kodak deal assures the continued production of movies using film on the scale of such upcoming shot-on-film releases like J.J. Abrams’ Star Wars: Episode VII – The Force Awakens, Quentin Tarantino’s The Hateful Eight, Sam Mendes’ latest installment of the Bond franchise, Spectre, David O. Russell’s Joy and Zack Snyder’s Batman v Superman: Dawn of Justice. The Directors Guild supported the agreement. ‘While most appreciate the opportunities that digital provides, directors and fans alike share a love for the beauty and history of film,’ DGA President Paris Barclay said at the time. ‘We’re incredibly pleased that film will remain a viable option for filmmakers for the foreseeable future.’”

I’d like to repeat one sentence above, in boldface: “the Kodak deal assures the continued production of movies using film on the scale of such upcoming shot-on-film releases like J.J. Abrams’ Star Wars: Episode VII – The Force Awakens, Quentin Tarantino’s The Hateful Eight, Sam Mendes’ latest installment of the Bond franchise, Spectre, David O. Russell’s Joy and Zack Snyder’s Batman v Superman: Dawn of Justice.”

With such major productions – like them or not – being shot on film, this isn’t ending anytime soon.

Batman V Superman, or, Twilight of the Franchises

Friday, June 26th, 2015

What do you do when a franchise starts to falter? You double down – watch the trailer here.

In the mid 1940s, Universal was coming off a two decade wave of horror movies, such as Frankenstein and Dracula (both 1931), The Mummy (1932) and The Wolf Man (1941), but at length, audiences were bored with just one monster, and demanded something to amp up the franchise. Thus, Frankenstein Meets The Wolf Man (1943) was born, the first of the Universal monster “team ups,” but in short order, the entire franchise collapsed as Universal combined nearly all their famed horror icons in two “monster rally” entries, House of Frankenstein (1944) and House of Dracula (1945), in cheap, hastily staged films that did little more than revive the monsters only to destroy them. With these final two films in the initial series, it seemed that the franchise was exhausted, and the next Universal horror entry wasn’t a horror entry at all; it was the parody Abbott & Costello Meet Frankenstein (1948). It wasn’t until Hammer films re-energized these classic characters in such films as The Curse of Frankenstein (1957) and Horror of Dracula (1958) that the franchise once again took on new life.

It seems to me that we’re now at a similar point with the DC Universe; the Superman series seems a bit played out, as the character seems a bit too straight arrow to relate to 21st century audiences; and Christopher Nolan has run the Batman series into the ground, as did Tim Burton and Joel Schumacher before him, so that both characters seem, for the moment, played out for the contemporary viewer. What to do? Why, just put them both in one film, as a a sort of WWF smackdown, recalling the first Universal team up, Frankenstein Meets (or more accurately, “battles”) The Wolf Man. And so now we have Batman V Superman: Dawn of Justice, directed by Zack “300” Snyder on a $200 million dollar budget, which wrapped filming in December 2014, and is now going through an apparently intensive post-production process, and won’t be released – at latest word – until March 25, 2016. What the final cost will be, who knows? Will it “blow up” like Jurassic World, and make a fortune? DC certainly hopes so.

It seems worth noting to me that Marvel has been much more successful at these “ensemble” films lately, but then they have a much larger cast of characters to work with. And when one character gets tired, they just sideline her or him for a while, and go for an Avengers team-up, and everyone seems happy as the dollars roll in, and then Marvel eventually gets around to rebooting whatever needs to be jump started next, as the cycle continues with Sisyphian relentlessness. But DC, I think, doesn’t have the same depth in its playing field, and so this team-up has, at least for me, the inescapable whiff of “last chance at the genre corral,” when you take your two most influential characters and put them into a face-off. After this, what can you do; repeat the same thing all over again, perhaps throwing in The Green Lantern for some added traction?

It seems sad to me that this is one of the most hotly anticipated tickets of next year – because the whole thing seems so formulaic and predestined, but there it is. On yes, and Wonder Woman, in the person of Gal Godot, will also swing by to get in on the action, so this in many ways might be closer to the “monster rally” films than the first Universal team-up film. In an excellent wrap article in Cinema Blend, Eric Eisenberg tracks what we know so far about the film, whose cast includes Ben Affleck, Henry Cavill, Amy Adams, Jesse Eisenberg, Diane Lane, Laurence Fishburne, Jeremy Irons, and Holly Hunter. Notes Eisenberg, “the idea of a Batman/Superman movie has been around so long that it was even made into an Easter Egg gag in the Will Smith action movie I Am Legend [2007] – the film jokingly dated for release only after the Earth had been devastated by an apocalyptic plague.”

He continues, “Warner Bros. released an official plot synopsis for Batman v Superman: Dawn of Justice, and watching the debut trailer one can at least kind of pick up on what this movie is putting down. It seems that the world of the growing DC Cinematic Universe has labeled Superman (Henry Cavill) a controversial figure after the events seen in Man of Steel, and while there are many in the world who see him as a superhero, there are many others who view him as an extreme threat. It would seem that Batman (Ben Affleck) falls into this latter category, and uses his incredible resources to do what he can to try and stop the perceived alien menace.

The first official footage sees him as a superhero, there are many others who view him as a savior. And that plot synopsis does little more than confirm this. How the story will deal with all of the major supporting characters (of which there are many) remains a mystery, though that same synopsis does tease a new threat that comes out of the woodwork, which has led many to speculate about Doomsday’s possible involvement. While provoking Superman into a fight probably seems like a terrible idea to most of us, Batman will have some special toys specifically designed to negate his enemy’s advantages. Specifically, he will wield a Kryptonite-laced spear. How exactly he obtained this substance remains unclear, but he’s Batman. The guy has means of acquiring all kinds of unusual items.”

You can read the whole article here – the trailer is above, behind the image.

The Spartans Meet The Muppets, or 300: Rise of an Empire

Tuesday, March 18th, 2014

I have a review essay out today on the new film 300: Rise of An Empire in Film International.

As I write, “It would be a mistake to dismiss director Noam Murro’s sword and sandal “historical” pageant 300: Rise of an Empire (2014) entirely, if only because mainstream pop culture films can often tell us more about the times we live in than so-called ‘quality’ films, since they pander so shamelessly to their audiences. So it is with 300: ROAE, but let me hasten to add that most of what it has to tell us is unintentional freight. The makers of this film – the producers, screenwriters and the director – wanted a serviceable follow-up to Zack Snyder’s 2007 original, to create what could be a profitable franchise, if properly handled – and Murro delivered it. It’s a maelstrom of unending cruelty, barbarism, and conflict.

You want endless, mindless, slow motion violence, delivered with a minimum of dialogue or motivation (other than the standard ‘I want revenge’ card)? You got it. Battlefields littered with corpses? Check. Huge, panoramic vistas that trail off into infinity, as the protagonists strike heroic poses in the twilight? Coming up! Spectacular battles on sea and land? Gotcha! Sex scenes with a dollop of violence? Of course! It’s all here, trotted out to meet audience demand, something Murro is no stranger to. Murro has directed numerous high-end commercials and videos, and one feature, Smart People (2008), starring Dennis Quaid and Sarah Jessica Parker. He’s even worked with The Muppets! Now, if only he could learn to direct people.

That’s probably good training for this film, because most of the cast walks through their paces like so many automatons; what really saves the film as a visual construct is Murro’s sense of non-stop kineticism, which is easily the equal of some of the best action directors in motion picture history. Mind you, I’m talking sheer technique here, not resonance; the film is as empty as it is dazzling, but nevertheless, some main points come to mind. Watching the film, I kept thinking of what a first rate talent like Sam Peckinpah might have done with similar material in his prime; ‘Bloody Sam’ would have been right at home here, provided he was willing to bring the film in on time and under budget.”

You can read the entire review by clicking here, or on the image above.

About the Author

Wheeler Winston Dixon

Wheeler Winston Dixon, Ryan Professor of Film Studies at the University of Nebraska-Lincoln, is an internationally recognized scholar and writer of film history, theory and criticism. He is the author of thirty books and more than 100 articles on film, and appears regularly in national media outlets discussing film and culture trends. Frame by Frame is a collection of his thoughts on a number of those topics. All comments by Dixon on this blog are his own opinions. To contact Prof. Dixon for an interview, reach him at or

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