Superman (James Gunn, 2025)

Cita:

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Iniciado por Dr. Morbius

https://thumbs2.imgbox.com/e5/8a/ya9dAw4U_t.jpeg

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Al Corenswet le pones una servilleta en el brazo y ya lo confunden con un camarero...

Cita:

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Iniciado por Sheldon

Al Corenswet le pones una servilleta en el brazo y ya lo confunden con un camarero...

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:lol :lol :lol

La verdad es que con la buena planta que tienen ambos, tanto Corenswet como Hoult, se ven realmente mal en esa imagen. Evidentemente todo esto es algo completamente subjetivo.

No hay manera que le hagan un traje decente al pobre Corenswet...

Esta no pienso ir a verla. Si, soy una "viuda de Snyder" y a mucha honra :cuniao La poca calidad que desprende el producto más un traje más feo que una nevera por detrás, más actuaciones lamentables de Corensweet....Mejor me guardo el dinero para los cuatro fantasticos, esa si va a molar.

Al de Daily Beast no le ha molado nada la peli. Han colgado sin querer la crítica 4 días antes del embargo por error y la han borrado a los pocos minutos.
https://www.worldofreel.com/blog/202...hen-deletes-it

Madre mía. Y la reseña era brutal, terrorífica. Se ha quedado agusto.

Dejo la reseña del film integra por aquí para quien esté interesado en leerla:

Terrible New ‘Superman’ Is Final Nail in Superhero Cinema’s Coffin

Spoiler:

Just as the seemingly indestructible Man of Steel is fatally weakened by kryptonite, so too is the once-unbeatable superhero genre gravely threatened by audience fatigue.

Tasked (alongside Peter Safran) with reinventing Warner Bros’ DC movie brand with an all-new “DC Universe,” director James Gunn strives to combat such lethargy with Superman, a rambunctious reboot of the Action Comics icon that, tonally and narratively, is the exact opposite of Zack Snyder’s grimdark predecessors. It’s a big swing in a polar-opposite direction, and one that, alas, turns out be as big a whiff, resulting in a would-be franchise re-starter that resembles a Saturday morning cartoon come to overstuffed, helter-skelter life.

Superman’s hero is no brooding Snyder-ian Christ figure; rather, he’s a sweet and sincere do-gooder who uses the word “dude,” takes time out of fighting behemoths to save squirrels from harm, and believes that viewing everyone as beautiful is “punk rock.”

The same goes for Gunn’s film, which is set on an Earth overrun by metahumans, the most powerful of which is Superman (David Corenswet), who at outset crash lands in the Arctic after losing his first-ever fight to an armored adversary known as the Hammer of Boravia—a country whose attempts to start war with neighboring Jarhanpur was recently thwarted by Superman.

Dragged to the Fortress of Solitude by his caped canine companion Krypto, Superman is nursed back to health by his lair’s robot minions, all as he listens to an incomplete recording made by his parents that accompanied him on his initial journey to our planet.


Superman is soon back in the fight, although he doesn’t initially realize that his true enemy is Lex Luthor (Nicholas Hoult), whose unparalleled knowledge of the Kryptonian’s moves and instincts allows him to successfully direct the Hammer of Boravia in their clashes. Following this battle, Superman wrestles with growing political and public outrage over his rash unilateralism, and bristles at the nasty social media campaigns ruining his reputation.


He receives merely moderate support from Lois Lane (Rachel Brosnahan), his Daily Planet colleague as well as his girlfriend, whom he grants an interview only to immediately regret it. Everyone has doubts about the noble titan, including Green Lantern Guy Gardner (Nathan Fillion), who dubs him a “wuss” for wanting to study rather than kill a fire-breathing goliath, and who is partners with genius Mister Terrific (Edi Gathegi) and warrior Hawkgirl (Isabela Merced) in a trio he’s desperate to dub the “Justice Gang” (and whose headquarters is the classic Super Friends Hall of Justice).

Luthor is in league with the president of Boravia, whom he visits via portals through a “pocket universe” that he’s created, damn its potential to beget a reality-destroying black hole. He’s also determined to turn humanity against Superman by executing a scheme that raises nature-vs.-nurture questions this tale doesn’t seriously address.


Despite his enmity for metahumans and, particularly Superman, Luthor is aided in his quest by two superpowered minions, the nanotechnology-enhanced Engineer (María Gabriela de Faría) and the mute, masked Ultraman, who partake in some of Gunn’s elastic, hyper-speed skirmishes.

Superman doesn’t skimp on the high-flying action, to a fault; the film is so awash in over-the-top CGI insanity that its slam-bang mayhem loses its punch. Not helping matters, the charming Corenswet looks the part but, in the shadow of Christopher Reeve (whose son Will cameos) and Henry Cavill, he comes across as relatively slight—a situation exacerbated by the all-over-the-place nature of his saga.

Superman doesn’t establish its scenario so much as it situates viewers in media res and then asks them to hold on for dear life as it whiplashes about from one out-of-this-world locale and incident to another. While verve isn’t in short supply, substantiality is; by not first building a foundation for its fantasy, the film feels as if it’s operating in a comic-book sandbox devoid of any (literal or figurative) gravity.


That continues to be the case as Superman finds himself at the mercy of Luthor and is compelled to partner with the Justice Gang as well as Metamorpho (Anthony Carrigan), a shapeshifting creature whom he meets in an interdimensional prison that boasts an “anti-proton river,” and who asks him to rescue his giant-headed infant son from Luthor’s minions.

DC Comics die-hards may delight in Superman’s endless geekiness but everyone else is apt to feel adrift or, at least, along for a frenetic, flimsy ride that only feigns interest in actual emotion. Superman and Lois’ relationship gets about as much attention as do sequences in which the Daily Planet reporter flies a spaceship. And interjected into the middle of colorful chaos and madness, a trip back to Smallville to visit Ma (Neva Howell) and Pa Kent (Pruitt Taylor Vince) is too sketchy to generate aww-shucks pathos.

Unfortunately, the proceedings aren’t better when it comes to humor; though Gunn continues to be adept at balancing multi-character concerns, his script—unlike his superior Guardians of the Galaxy trilogy and 2021’s The Suicide Squad—delivers scant amusing one-liners or gags, save for cute Krypto’s habit of excitably wrestling and licking Superman at the least opportune moments.

With a chrome dome and a cocky sneer, Hoult makes for a faithful Luthor. However, as with Brosnahan and Skyler Gisondo as Jimmy Olsen—who has a straining-to-be-funny subplot involving Luthor’s selfie-loving girlfriend Eve (Sara Sampaio)—his performance is overwhelmed by the material’s endless sound and fury


Zipping this way and that, Superman gets tangled up in fanciful nonsense that soon renders the entire affair superficial and silly. Similar to Snyder and Joss Whedon’s misshapen Justice League, Gunn’s spectacular overpopulates itself with heroes and villains it has neither the time nor the inclination to develop. Consequently, everyone and everything is two-dimensional, no matter that the director’s imagery is sharp and vibrant.

John Williams’ classic theme from Richard Donner’s 1979 Superman is heard (in different forms) throughout, yet it’s incapable of lending the scattershot film the magic it needs. Biting off more than it can chew, Gunn’s wannabe-blockbuster eventually resorts to setting up future franchise installments via quick-hit appearances from Maxwell Lord (Sean Gunn) and Supergirl (Milly Alcock). That’s not to mention by highlighting second-banana figures like Mister Terrific at the expense of fully establishing the altruistic heart of its protagonist, whose path toward self-actualization is mostly an afterthought.

Looking ahead rather than focusing on the here and now, this attempt at reimagining DC’s movie series ultimately proves to be more of the same old interconnected-universe bedlam that, at this point, is perilously close to going out of fashion.

Cita:

---

Iniciado por Branagh/Doyle

Dejo la reseña del film integra por aquí para quien esté interesado en leerla:

Terrible New ‘Superman’ Is Final Nail in Superhero Cinema’s Coffin

Spoiler:

Just as the seemingly indestructible Man of Steel is fatally weakened by kryptonite, so too is the once-unbeatable superhero genre gravely threatened by audience fatigue.

Tasked (alongside Peter Safran) with reinventing Warner Bros’ DC movie brand with an all-new “DC Universe,” director James Gunn strives to combat such lethargy with Superman, a rambunctious reboot of the Action Comics icon that, tonally and narratively, is the exact opposite of Zack Snyder’s grimdark predecessors. It’s a big swing in a polar-opposite direction, and one that, alas, turns out be as big a whiff, resulting in a would-be franchise re-starter that resembles a Saturday morning cartoon come to overstuffed, helter-skelter life.

Superman’s hero is no brooding Snyder-ian Christ figure; rather, he’s a sweet and sincere do-gooder who uses the word “dude,” takes time out of fighting behemoths to save squirrels from harm, and believes that viewing everyone as beautiful is “punk rock.”

The same goes for Gunn’s film, which is set on an Earth overrun by metahumans, the most powerful of which is Superman (David Corenswet), who at outset crash lands in the Arctic after losing his first-ever fight to an armored adversary known as the Hammer of Boravia—a country whose attempts to start war with neighboring Jarhanpur was recently thwarted by Superman.

Dragged to the Fortress of Solitude by his caped canine companion Krypto, Superman is nursed back to health by his lair’s robot minions, all as he listens to an incomplete recording made by his parents that accompanied him on his initial journey to our planet.


Superman is soon back in the fight, although he doesn’t initially realize that his true enemy is Lex Luthor (Nicholas Hoult), whose unparalleled knowledge of the Kryptonian’s moves and instincts allows him to successfully direct the Hammer of Boravia in their clashes. Following this battle, Superman wrestles with growing political and public outrage over his rash unilateralism, and bristles at the nasty social media campaigns ruining his reputation.


He receives merely moderate support from Lois Lane (Rachel Brosnahan), his Daily Planet colleague as well as his girlfriend, whom he grants an interview only to immediately regret it. Everyone has doubts about the noble titan, including Green Lantern Guy Gardner (Nathan Fillion), who dubs him a “wuss” for wanting to study rather than kill a fire-breathing goliath, and who is partners with genius Mister Terrific (Edi Gathegi) and warrior Hawkgirl (Isabela Merced) in a trio he’s desperate to dub the “Justice Gang” (and whose headquarters is the classic Super Friends Hall of Justice).

Luthor is in league with the president of Boravia, whom he visits via portals through a “pocket universe” that he’s created, damn its potential to beget a reality-destroying black hole. He’s also determined to turn humanity against Superman by executing a scheme that raises nature-vs.-nurture questions this tale doesn’t seriously address.


Despite his enmity for metahumans and, particularly Superman, Luthor is aided in his quest by two superpowered minions, the nanotechnology-enhanced Engineer (María Gabriela de Faría) and the mute, masked Ultraman, who partake in some of Gunn’s elastic, hyper-speed skirmishes.

Superman doesn’t skimp on the high-flying action, to a fault; the film is so awash in over-the-top CGI insanity that its slam-bang mayhem loses its punch. Not helping matters, the charming Corenswet looks the part but, in the shadow of Christopher Reeve (whose son Will cameos) and Henry Cavill, he comes across as relatively slight—a situation exacerbated by the all-over-the-place nature of his saga.

Superman doesn’t establish its scenario so much as it situates viewers in media res and then asks them to hold on for dear life as it whiplashes about from one out-of-this-world locale and incident to another. While verve isn’t in short supply, substantiality is; by not first building a foundation for its fantasy, the film feels as if it’s operating in a comic-book sandbox devoid of any (literal or figurative) gravity.


That continues to be the case as Superman finds himself at the mercy of Luthor and is compelled to partner with the Justice Gang as well as Metamorpho (Anthony Carrigan), a shapeshifting creature whom he meets in an interdimensional prison that boasts an “anti-proton river,” and who asks him to rescue his giant-headed infant son from Luthor’s minions.

DC Comics die-hards may delight in Superman’s endless geekiness but everyone else is apt to feel adrift or, at least, along for a frenetic, flimsy ride that only feigns interest in actual emotion. Superman and Lois’ relationship gets about as much attention as do sequences in which the Daily Planet reporter flies a spaceship. And interjected into the middle of colorful chaos and madness, a trip back to Smallville to visit Ma (Neva Howell) and Pa Kent (Pruitt Taylor Vince) is too sketchy to generate aww-shucks pathos.

Unfortunately, the proceedings aren’t better when it comes to humor; though Gunn continues to be adept at balancing multi-character concerns, his script—unlike his superior Guardians of the Galaxy trilogy and 2021’s The Suicide Squad—delivers scant amusing one-liners or gags, save for cute Krypto’s habit of excitably wrestling and licking Superman at the least opportune moments.

With a chrome dome and a cocky sneer, Hoult makes for a faithful Luthor. However, as with Brosnahan and Skyler Gisondo as Jimmy Olsen—who has a straining-to-be-funny subplot involving Luthor’s selfie-loving girlfriend Eve (Sara Sampaio)—his performance is overwhelmed by the material’s endless sound and fury


Zipping this way and that, Superman gets tangled up in fanciful nonsense that soon renders the entire affair superficial and silly. Similar to Snyder and Joss Whedon’s misshapen Justice League, Gunn’s spectacular overpopulates itself with heroes and villains it has neither the time nor the inclination to develop. Consequently, everyone and everything is two-dimensional, no matter that the director’s imagery is sharp and vibrant.

John Williams’ classic theme from Richard Donner’s 1979 Superman is heard (in different forms) throughout, yet it’s incapable of lending the scattershot film the magic it needs. Biting off more than it can chew, Gunn’s wannabe-blockbuster eventually resorts to setting up future franchise installments via quick-hit appearances from Maxwell Lord (Sean Gunn) and Supergirl (Milly Alcock). That’s not to mention by highlighting second-banana figures like Mister Terrific at the expense of fully establishing the altruistic heart of its protagonist, whose path toward self-actualization is mostly an afterthought.

Looking ahead rather than focusing on the here and now, this attempt at reimagining DC’s movie series ultimately proves to be more of the same old interconnected-universe bedlam that, at this point, is perilously close to going out of fashion.

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Este punto me da miedo

Spoiler:

Superman’s hero is no brooding Snyder-ian Christ figure; rather, he’s a sweet and sincere do-gooder who uses the word “dude,” takes time out of fighting behemoths to save squirrels from harm, and believes that viewing everyone as beautiful is “punk rock.”

La verdad es que la reseña es terrorífica. Encima parece una frikada para auténticos comidos, no tanto con voluntad de traer neófitos o miradas diversas mediante una revisión potente del personaje como de reforzar el blindaje de un grupo concreto de frikis sobre su visión de los cómics y sus particulares fetiches. Que Gunn juega con esto y a veces le sale bien, sí, pero yo sinceramente siempre lo he visto al límite y me temo que aquí puede habérsele ido de las manos.

Cita:

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Iniciado por Branagh/Doyle

Dejo la reseña del film integra por aquí para quien esté interesado en leerla:

Terrible New ‘Superman’ Is Final Nail in Superhero Cinema’s Coffin

Spoiler:

Just as the seemingly indestructible Man of Steel is fatally weakened by kryptonite, so too is the once-unbeatable superhero genre gravely threatened by audience fatigue.

Tasked (alongside Peter Safran) with reinventing Warner Bros’ DC movie brand with an all-new “DC Universe,” director James Gunn strives to combat such lethargy with Superman, a rambunctious reboot of the Action Comics icon that, tonally and narratively, is the exact opposite of Zack Snyder’s grimdark predecessors. It’s a big swing in a polar-opposite direction, and one that, alas, turns out be as big a whiff, resulting in a would-be franchise re-starter that resembles a Saturday morning cartoon come to overstuffed, helter-skelter life.

Superman’s hero is no brooding Snyder-ian Christ figure; rather, he’s a sweet and sincere do-gooder who uses the word “dude,” takes time out of fighting behemoths to save squirrels from harm, and believes that viewing everyone as beautiful is “punk rock.”

The same goes for Gunn’s film, which is set on an Earth overrun by metahumans, the most powerful of which is Superman (David Corenswet), who at outset crash lands in the Arctic after losing his first-ever fight to an armored adversary known as the Hammer of Boravia—a country whose attempts to start war with neighboring Jarhanpur was recently thwarted by Superman.

Dragged to the Fortress of Solitude by his caped canine companion Krypto, Superman is nursed back to health by his lair’s robot minions, all as he listens to an incomplete recording made by his parents that accompanied him on his initial journey to our planet.


Superman is soon back in the fight, although he doesn’t initially realize that his true enemy is Lex Luthor (Nicholas Hoult), whose unparalleled knowledge of the Kryptonian’s moves and instincts allows him to successfully direct the Hammer of Boravia in their clashes. Following this battle, Superman wrestles with growing political and public outrage over his rash unilateralism, and bristles at the nasty social media campaigns ruining his reputation.


He receives merely moderate support from Lois Lane (Rachel Brosnahan), his Daily Planet colleague as well as his girlfriend, whom he grants an interview only to immediately regret it. Everyone has doubts about the noble titan, including Green Lantern Guy Gardner (Nathan Fillion), who dubs him a “wuss” for wanting to study rather than kill a fire-breathing goliath, and who is partners with genius Mister Terrific (Edi Gathegi) and warrior Hawkgirl (Isabela Merced) in a trio he’s desperate to dub the “Justice Gang” (and whose headquarters is the classic Super Friends Hall of Justice).

Luthor is in league with the president of Boravia, whom he visits via portals through a “pocket universe” that he’s created, damn its potential to beget a reality-destroying black hole. He’s also determined to turn humanity against Superman by executing a scheme that raises nature-vs.-nurture questions this tale doesn’t seriously address.


Despite his enmity for metahumans and, particularly Superman, Luthor is aided in his quest by two superpowered minions, the nanotechnology-enhanced Engineer (María Gabriela de Faría) and the mute, masked Ultraman, who partake in some of Gunn’s elastic, hyper-speed skirmishes.

Superman doesn’t skimp on the high-flying action, to a fault; the film is so awash in over-the-top CGI insanity that its slam-bang mayhem loses its punch. Not helping matters, the charming Corenswet looks the part but, in the shadow of Christopher Reeve (whose son Will cameos) and Henry Cavill, he comes across as relatively slight—a situation exacerbated by the all-over-the-place nature of his saga.

Superman doesn’t establish its scenario so much as it situates viewers in media res and then asks them to hold on for dear life as it whiplashes about from one out-of-this-world locale and incident to another. While verve isn’t in short supply, substantiality is; by not first building a foundation for its fantasy, the film feels as if it’s operating in a comic-book sandbox devoid of any (literal or figurative) gravity.


That continues to be the case as Superman finds himself at the mercy of Luthor and is compelled to partner with the Justice Gang as well as Metamorpho (Anthony Carrigan), a shapeshifting creature whom he meets in an interdimensional prison that boasts an “anti-proton river,” and who asks him to rescue his giant-headed infant son from Luthor’s minions.

DC Comics die-hards may delight in Superman’s endless geekiness but everyone else is apt to feel adrift or, at least, along for a frenetic, flimsy ride that only feigns interest in actual emotion. Superman and Lois’ relationship gets about as much attention as do sequences in which the Daily Planet reporter flies a spaceship. And interjected into the middle of colorful chaos and madness, a trip back to Smallville to visit Ma (Neva Howell) and Pa Kent (Pruitt Taylor Vince) is too sketchy to generate aww-shucks pathos.

Unfortunately, the proceedings aren’t better when it comes to humor; though Gunn continues to be adept at balancing multi-character concerns, his script—unlike his superior Guardians of the Galaxy trilogy and 2021’s The Suicide Squad—delivers scant amusing one-liners or gags, save for cute Krypto’s habit of excitably wrestling and licking Superman at the least opportune moments.

With a chrome dome and a cocky sneer, Hoult makes for a faithful Luthor. However, as with Brosnahan and Skyler Gisondo as Jimmy Olsen—who has a straining-to-be-funny subplot involving Luthor’s selfie-loving girlfriend Eve (Sara Sampaio)—his performance is overwhelmed by the material’s endless sound and fury


Zipping this way and that, Superman gets tangled up in fanciful nonsense that soon renders the entire affair superficial and silly. Similar to Snyder and Joss Whedon’s misshapen Justice League, Gunn’s spectacular overpopulates itself with heroes and villains it has neither the time nor the inclination to develop. Consequently, everyone and everything is two-dimensional, no matter that the director’s imagery is sharp and vibrant.

John Williams’ classic theme from Richard Donner’s 1979 Superman is heard (in different forms) throughout, yet it’s incapable of lending the scattershot film the magic it needs. Biting off more than it can chew, Gunn’s wannabe-blockbuster eventually resorts to setting up future franchise installments via quick-hit appearances from Maxwell Lord (Sean Gunn) and Supergirl (Milly Alcock). That’s not to mention by highlighting second-banana figures like Mister Terrific at the expense of fully establishing the altruistic heart of its protagonist, whose path toward self-actualization is mostly an afterthought.

Looking ahead rather than focusing on the here and now, this attempt at reimagining DC’s movie series ultimately proves to be more of the same old interconnected-universe bedlam that, at this point, is perilously close to going out of fashion.

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Gracias, aunque prefiero esperar a ver la película. No quiero, por si acaso, spoilearse antes de tiempo.

Iré a ver el Superman de Gunn. La versión de Snyder me parece inaguantable. Creo que Gunn puede haberle dado un matiz más positivo, ilusionante, disfrutable. Desde luego, la que no verá ni un céntimo de mi bolsillo serán los 4F, con ese Silver Surfer empoderado y woke.

https://www.youtube.com/watch?v=f1O-c-ukHmE&t=32s

https://www.youtube.com/watch?v=7jow0XrN-fE


https://www.youtube.com/watch?v=NdcDZPudp_A

Cita:

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Iniciado por Branagh/Doyle

https://www.youtube.com/watch?v=f1O-c-ukHmE&t=32s

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Me estaba dando bastante cringe y en el momento en el que la chiquilla levanta los brazos cuando sale Superman, no he podido seguir viendo el vídeo...

https://i.makeagif.com/media/4-19-2016/xnkzAc.gif

Ojo, que seguramente los otros vídeos son una maravilla, pero como digo no tengo valor para seguir viéndolos. El sentimiento que me provoca es una sensación bastante incómoda.

Cita:

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Iniciado por Xavier Blasco G

Iré a ver el Superman de Gunn. La versión de Snyder me parece inaguantable. Creo que Gunn puede haberle dado un matiz más positivo, ilusionante, disfrutable. Desde luego, la que no verá ni un céntimo de mi bolsillo serán los 4F, con ese Silver Surfer empoderado y woke.

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Reconozco que a mi también me desarmo cuando vi a la nueva Silver Surfer. Ahora bien, no se supone que es de otro universo? es decir, el dichoso follón del multiverso

La crítica filtrada "spoilea" el 50% de la película. Va sin contención... Entre eso y los últimos clips, esto me da más miedo que nunca. Me imagino que será un placer culpable. Algo simpático de ver, caleidoscópico, como una atracción divertidísima de Disneyworld, pero un flaco favor al personaje y al mundo de Superman. Estoy dudando si ir al cine o esperarme a las versiones domésticas.

Cita:

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Iniciado por Muthur

Me estaba dando bastante cringe y en el momento en el que la chiquilla levanta los brazos cuando sale Superman, no he podido seguir viendo el vídeo...

https://i.makeagif.com/media/4-19-2016/xnkzAc.gif

Ojo, que seguramente los otros vídeos son una maravilla, pero como digo no tengo valor para seguir viéndolos. El sentimiento que me provoca es una sensación bastante incómoda.

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Entiendo que es ironía, ¿verdad?

:D

PD: El aspecto platiscoso de producción de bajo presupuesto que tiene todo sigo sin explicarmelo.

Cita:

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Iniciado por Branagh/Doyle

Dejo la reseña del film integra por aquí para quien esté interesado en leerla:

Terrible New ‘Superman’ Is Final Nail in Superhero Cinema’s Coffin

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Joder, confirma las filtraciones, madre mia.

Cita:

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Iniciado por Branagh/Doyle

PD: El aspecto platiscoso de producción de bajo presupuesto que tiene todo sigo sin explicarmelo.

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Creía que eran spots publicitarios de refrescos, de esos que se hacen paralelamente a estas películas de superhéroes, y que siempre tienen un tono naïf y extremadamente ligero... y cuando me he dado cuenta de que era un clip de la propia película, me han entrado sudores... :sudor

Gunn sabe hacer macarradas, y aquí parece que WB le ha atado en corto, y el tono es, simplemente, incorrecto; no veo otra forma de definirlo. Ni siquiera es una película cool de Gunn... parece un pastiche indefinido y con momentos (espero que no sean excesivos) directamente vergonzantes... :fiu

Cita:

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Iniciado por Branagh/Doyle

PD: El aspecto platiscoso de producción de bajo presupuesto que tiene todo sigo sin explicarmelo.

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Soy masoca, pero la vere :cuniao

No creo que sea el primero y por supuesto el último que me diga “que pase lo que Dios quiera “ cuando me siente en el cine

A mí se me junta Superman y los 4 fantásticos,los dos temas me encantan,espero con todo el corazón que ambas películas triunfen.Opino que ni DC ni Marvel deberían permitirse tener " Premiere" antes del estreno,las redes sociales son un verdadero cáncer y quieras que no influyen y disuaden mucho de " no vayas a verla' es terrible.Se juega mucho con este Superman en especial.Rezo porque les vaya bien

He leido que han cortado una escena [spoiler] donde golpean a kripto ya que en los pases de prueba la gente se quejaba y sentó mal[\spoiler], lo que lleva a preguntarme, a que tipo de gente llevan a esos pases? Igual deberían darle una vuelta viendo que los pases son buenos y luego en la vida real las ponen a parir. A estos les pones cualquier peli de los 70s y les da algo

Como cojones a Gunn se le ha pasado esto??

https://x.com/i/status/1940879452906598789

Es que no puedo entender como deja la bota con esa distorsión que parece Goofy, nadie revisa la película :sudor. De verdad con todo lo último que estoy leyendo, voy a ir el viernes embajonado a ver la película.

Deespués de la filtración de la crítica del Daily Beast, ahora es la misma Variety la que quiebra el embargo, aunque de una forma más disimulada. En la crítica que han publicado sobre la película Heads of State, se puede leer lo siguiente:


You could be forgiven for writing off “Heads of State.” But then, you would miss a movie that’s no sillier than “Superman” and a lot more entertaining (a comparison worth making, since both adhere to a mythical sense of heroism).

Es decir, dicen que Heads of State (a la que pone a caldo) "no es más tonta que Superman, pero sí mucho más entretenida". Ouch.

Yo no espero nada de esta película, aunque la iré a ver, por tanto no hay lugar para la decepción.

Y la razón por la que no espero nada es porque James Gunn fue el guionista de Scooby Doo, que es posiblemente, la peor película de la historia. O al menos está en el TOP10 de ellas.

Nicholas Hout es un tío al que enchufan en todas partes, proyectos importantes, cuando realmente ni siquiera es un actor carismático. Me suena a otro caso Tom Holland. Hay actores que tienen unos agentes y unos contactos cojonudos.

Y al peluquero que le ha dejado ese peinado a Clark Kent es como para fusilarlo con munición de fogueo. De juzgado de guardia.