Is BvS kino?

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>>80588178
"yes" is now winning

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Unironically, yes, it is.

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>Even at his most pedestrian or bombastic, Snyder makes a far more engaging film than Christopher Nolan (an executive producer of “Batman v Superman”) ever did—because Nolan presumes to know and to show, whereas Snyder wants to see. Even his slender philosophical world seems like he’s discovering it, not delivering it.

>The devil gets, as usual, the most florid dialogue, and Jesse Eisenberg dispenses it with exuberant intelligence. He steals every scene. In a recent interview in Le Monde, Eisenberg discussed his approach to the role:

>"Luthor becomes a character from Greek tragedy. At least, that’s how I approached it, in accord with the screenwriter. He only talks about ideas, which makes him a profoundly theatrical character. I can also play on a paradox: rendering this individual funny although he behaves in an appalling way, also showing him prone to deep depressions because of his internal conflicts. I did everything I could to theatricalize him in the extreme. I had read lots of the adventures of Superman in comic books, but it was impossible to draw on them to find a way to play Luthor. Too schematic. Too much of a caricature. I reconfigured the character as if he became in fact the center of the film."

>Eisenberg’s gleeful and inventive performance suggests that he may be at his best in a tight framework that restrains his physicality and converges his acting to vocal inflections and turns of phrase, gestures and facial expressions.

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>Fanboys do not own the franchises of Batman and Superman movies, so director Zack Snyder went against the mob and dared to raise the genre to a level of adult sophistication in 2013’s Man of Steel, the most emotionally powerful superhero movie ever made. (Fanboys hated it.) Snyder’s sequel, Batman v Superman: Dawn of Justice adds politics, bringing to the fantasy some contemporary, real-world concerns. This is not conventional comic-book allegory; rather, Snyder uses the figures of Batman (Ben Affleck) and Superman (Henry Cavill) walloping each other to give visible substance to social and moral issues, much as Greek tragedy does. He takes the wildest, Bizarro World fiction — of two superheroes turned super foes — and uses the premise to explicate our current dilemmas concerning power, principles, and divinity.

>It helps that Snyder is also visionary, inclined to extravagant spectacle and gifted with a signature erotic touch. An early montage equates violence, wealth, loss, and grief through symbolic images of bullets, pearls, blood, and tears. It is witnessed by the young Bruce Wayne, a paranoid orphaned millionaire who misconstrues Superman’s involvement in the previous film’s battle that devastated Metropolis (and traumatized nearby Gotham City), and so he vows a vigilante’s revenge. With its legal-brief title, Batman v Superman reflects the confusion that pits secularists against believers, and the partisanship that inhibits national alliance. This tension is so visually amped up that the opposition of Batman to Superman feels revelatory: Man versus the god in Man.

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>>80588974
>Snyder’s opening sequences interweave the origin stories of these mythic heroes and their alter egos. What has become overly familiar through years of repetition acquires new dynamism — and new understanding — that particularizes and personalizes each wounded man’s suffering. Not only are these time-shifts audacious (movie marquees announce the 1940 The Mark of Zorro and the 1981 Excalibur — implying the evolution of history), but so is Snyder’s proposition about the nature of heroism and vengeance: Both stem from the way individuals react to and comprehend their experiences. Snyder’s thrillingly intelligent use of interior conflict and political antagonism vastly outclasses Christopher Nolan’s Batman trilogy: Batman Begins, The Dark Knight, and The Dark Knight Rises — all noxious — which were bellwethers of our culture’s decline.

>Fanboys prefer the Nolan films for their “darkness,” which emphasized the sophomoric, pseudo-tragic elements of the Batman graphic novels. But Snyder’s more adult treatment finds the material’s emotional core. This displeases the fanboy/hipster whose adolescent embarrassment about feelings was exploited through Nolan’s emotionless violence and post–9/11 nihilism. Snyder counters that cultural crisis and (through the script by Chris Terrio and David S. Goyer) visualizes the millennial moral struggle as pop myth. His essential subject is mankind’s struggle to discover compassion as well as common obligation — or dare I use the non-political term: brotherhood?

>>80588888
The yes is winning as it should be.

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>>80589042
>The pain of post–9/11 as reflected in Nolan’s Batman films was a paradigm shift. But fantasy cannot conscientiously be enjoyed Nolan’s way, without any sense of social, historical, or moral consequence. Snyder manipulates this new paradigm so that mankind’s sense of mortality is embodied by Batman, Superman, and their arch-nemesis, Lex Luthor. (All three characterization performances are, well, perfect.) When Superman’s motives are questioned, the skepticism and vilification create an antagonism between him and Batman that Snyder lays out as an ideological conflict and that Luthor exacerbates. Luthor (Jesse Eisenberg, who played Mark Zuckerberg in The Social Network and thus personifies the craven millennium) cynically whines about “The oldest lie in America: that power can be innocent.” He even threatens a senator (Holly Hunter) who heads an investigation into Superman’s guilt. Luthor’s obsession with Superman (“He answers to no one. Not even, I think, to God”) reveals envy that is unmistakably demonic; a development that coheres with Snyder’s spiritual-social vision of post–9/11 grief and desire for salvation. He creates the year’s first great movie image by examining Superman’s “divinity” when he is surrounded by Day of the Dead multitudes. The image echoes our current desperation regarding “populism” — and that’s truly audacious.

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this is my reasoning

Pure capekino. No need for reasoning it's self-explanatory.

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>>80589187
>Among today’s outstanding American filmmakers, Snyder has an eccentric interest in the spiritual expression of his characters’ conflicts. From the erotic antiquity saga 300 to the anthropomorphic fable Legend of the Guardians: The Owls of Ga’Hoole, Snyder demonstrates a caricaturist’s knack for elaborating Good vs. Evil. It takes just such dreamlike moral clarity to reprove the Nolan trilogy’s chaos. Look at Snyder’s second high point: Batman’s nightmare of battling Superman plus his own enigmatic demons imagined as Stymphalian wasps. The scene spins agonizingly slowly (though not in slow motion), becoming ever more hallucinatory. It fuses comic-book imagery to the oldest Western myths.

>In this age of petty Marvels, most comic-book movies merely perpetrate fantasies of power, but Snyder, enacting his personal aesthetic, braves a film that examines those fantasies. He boldly challenges popular culture’s current decay. Man of Steel was a magnificent, hugely satisfying response to what’s often missing in pop culture, and Batman v Superman raises more ideas without (yet) resolving them. An attempt to invoke other superheroes from the DC Comics stable, starting with Wonder Woman (Gal Gadot, accompanied by tribal drums that recall Snyder’s overawed feminist fantasia, Sucker Punch), ultimately goes unfulfilled. And Snyder, obliged to placate the Marvel hordes, lets a couple of fight scenes devolve into Avengers-trite turmoil.

>Still, the equation of moral myth and contemporary political catastrophe marks an important advance. Snyder intends to resolve the conflict between commerce and art, power and morality. “Knowledge with no power is paradoxical,” one character says. “Man made a world where standing together is impossible,” frets another. With Batman v Superman, the battle for the soul of American culture is on.

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How can I join the warner discord shill group? My skin is white though which might be a problem

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"Yes" winning by almost 2:1

>>80589364
No pajeets allowed.

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>>80589453
Was there really any doubt?

>>80589453
Lol alt right trolls rigging the votes. again.

>>80589817
ummm no sweetie ;P

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"Yes" no has more than double the amount of votes that "No" has. Is BvS confirmed for kino? Is marvel BTFO?

>>80589364
Move out of India, stop shitting in the streets and stop working for Disney too. Then we'll see

"kino" just means "shit movie" right? that's all I see it used to describe

>>80591169
t. angry pajeet

>>80590831
>>80591246
what particular type of autism do you have?

kinoo

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Independently confirmed as kino by AI

>>80593728
That image is mos not bvs though

>>80587257
If it were "kino" you wouldn't need to peddle it here with daily threads. I think you're at the point where you should talk to your psychologist about your obsession with shitty movies.

>>80593889
same old crap though

>>80594104
>>80593967
shoo, shill, shoo.

>>80589532
How's your proxy going, lad?

>those results
Marvel Pakis literally BTFO. Goes to show they are a cancerous whiny minority that don't represent /tv/.

>>80594240
>pakis
>pajeets
It's always the same autist making these threads.

It's not my fault marvelfags can't vpte in a strawpoll

>>80594355
More like Marvel shills are beinf ousted big time as a whiny vocal minority abusing the anonymous system to influence word of mouth. You got exposed big time. Now run along and go make a thread on why Oscars don't matter. Shoosh! Away with you.

>>80594612
>More like Marvel shills are beinf ousted big time as a whiny vocal minority abusing the anonymous system to influence word of mouth.
Can you go through one sentence without fucking it up? A strawpoll doesn't fix all the horrible issues those movies have. You copypaste shit and bloat polls with a proxy because you can't discuss the movies to save your life.

>>80594749
I used a VPN not a proxy, you fukking idiot.

>>80594749
The delicious tears of the defeated Marvel Poo. Why are you even in this thread? Why not make a strawpoll for Civil War? That was great, wasn't it? See what people think of your dear employers.

>>80587257

only leftists fedora atheists hated this movie

it was good apart from the cut which was odd at a few places

>>80587257
It's a goddam masterpiece of its genre and a great movie all around.

It's ok
So yes

>>80594898
>The delicious tears of the defeated Marvel Poo.
Yeah, you have some issues beyond the brand loyalty bullshit you infatuated yourself with. You sound like you need a hug.

Are the DCucks rigging the poll?

http://www.strawpoll.me/12559492

>>80595296
pajeet on suicide watch