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Re: Superman (James Gunn, 2025)
https://i.postimg.cc/4dydXWcF/064.jpg
J.Gunn:
“Yo siempre soy mi primer miembro de la audiencia —aclaró Gunn—. No me percibo como escritor, sino como un periodista de mi imaginación. Observo lo que imagino, qué pasa enfrente de mí, si estoy llorando o estoy riendo; entonces, así creo que funciona con la audiencia que ha sido como yo durante mucho tiempo”.
“Crecí leyendo los cómics de DC y no estamos haciendo otra cosa más que llevarlo a la gran pantalla —aclaró el cineasta—. No quise hacer una película de origen porque ya lo conocen y ahora está en un mundo de magia, ciencia, robots, kaijus y perros que vuelan”, afirmó con entusiasmo.
D.Corenswet:
“Así conectas con el personaje como actor, con su humanidad, vista desde la primera página del guión, que inicia con Superman sangrando”, compartió el protagonista, quien también habló sobre la nueva postura del personaje, que distará mucho del semidiós representado anteriormente.
“Su razón de tomar la personalidad de Clark Kent es por su amor por la humanidad y su deseo de explorar lo que realmente es una persona -Aclara Corenswet—. Tuvo una infancia muy normal, pero cuando se convirtió en Superman empezó a extrañar lo que se siente formar parte de un grupo normal de personajes que van al trabajo todos los días”.
“Superman ama lo que hace, sin importarle lo que el mundo opine, pero es Lois la única que lo cuestiona directamente; le hace preguntas y él sabe que la necesita para que lo ponga a pensar en estas cosas”, explicó David, sobre cómo se abordará la relación entre el alienígena y la humana.
R. Brosnahan:
“Ella intenta hacer pensar a las personas más profundamente de lo que lo suelen hacer —comentó por otra parte la actriz Rachel Brosnahan, quien aclaró que su personaje no será la típica damisela en aprietos que debe ser rescatada—. Creo que nunca lo ha sido. Ella a veces se mete en problemas, pero es por la búsqueda de cosas que le importan, y eso es lo divertido de verla e interpretarla. Estoy emocionada por ver cómo evoluciona ella en este universo”.
https://www.milenio.com/espectaculos/el-nuevo-superman
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Re: Superman (James Gunn, 2025)
Cita:
Iniciado por
jurassicworld
J.Gunn:
“Yo siempre soy mi primer miembro de la audiencia —aclaró Gunn—. No me percibo como escritor, sino como un periodista de mi imaginación. Observo lo que imagino, qué pasa enfrente de mí, si estoy llorando o estoy riendo; entonces, así creo que funciona con la audiencia que ha sido como yo durante mucho tiempo
Normal el yoyismo del pistolas
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Re: Superman (James Gunn, 2025)
Confirmado
Bradley Cooper como Jor-El y Ángela Sarafyan como Lara
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Re: Superman (James Gunn, 2025)
Por cierto, se dice que lo de los monos no lo han quitado.
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Re: Superman (James Gunn, 2025)
Aunque yo me posiciono claramente en el lado del snyderverse, no soy de cerrarme puertas. No quiero dejar de disfrutar de algo por mis prejuicios. Pensaba ver esta propuesta en el cine, pero viendo los tráilers...muy mal, me parece una película infantil.
Esperaré a verla en MAX si es que la estrenan ahí gratuitamente.
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Re: Superman (James Gunn, 2025)
Cita:
Iniciado por
jmiguelro
Esperaré a verla en MAX si es que la estrenan ahí gratuitamente.
Dime dónde y voy...
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Re: Superman (James Gunn, 2025)
Cita:
Iniciado por
dawson
Dime dónde y voy...
En max emiten las películas de forma gratuita no? Me refiero a cuando se retira del cine claro (por eso he escrito "esperaré"). De todos modos, en mi frase hay un sentido condicional, no una afirmación categórica, por si no lo has notado.
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Re: Superman (James Gunn, 2025)
Max tienes que pagar subscripcion, gratis no es.
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Re: Superman (James Gunn, 2025)
Por supuesto, le imputaré también al coste de ver la película (si es que la veo en MAX) la parte proporcional del precio de la tele, de la factura de la luz, y del sofá donde me siento. Igual si me pongo a sumar gastos consigo desgravarme algo. Aunque todo ello lo dividiré por dos si veo la película con mi mujer.:aprende
Y "suscripción" se escribe sin B, en castellano al menos.
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Re: Superman (James Gunn, 2025)
Gratis HBO Max no es porque has de pagar una cuota mensual o anual para acceder a su catálogo. Pero quizá por "gratuitamente" te referías a que todo está incluido dentro del coste de dicha suscripción y no tienes que pagar un extra específicamente por acceder temporalmente a ciertos títulos de estreno.
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Re: Superman (James Gunn, 2025)
Cita:
Iniciado por
Branagh/Doyle
Gratis HBO Max no es porque has de pagar una cuota mensual o anual para acceder a su catálogo. Pero quizá por "gratuitamente" te referías a que todo está incluido dentro del coste de dicha suscripción y no tienes que pagar un extra específicamente por acceder temporalmente a ciertos títulos de estreno.
Así es compañero, gracias. En Amazon Prime muchas veces ponen estrenos, previo pago. No recuerdo si es así en otras plataformas, pero creo recordar que dicha política no se comprende dentro de MAX, a Dios gracias.
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Re: Superman (James Gunn, 2025)
Por cierto, "subscripción" es un término absolutamente correcto en castellano (y así lo recoge la RAE). De hecho, su existencia precede a "suscripción".
Otra cosa es que a día de hoy desde la RAE promuevan e incluso recomienden usar "suscripción" porque la reducción del grupo consonántico -simplificada en S-, refleja los usos y costumbres en cuanto a la evolución de esta palabra a nivel de la pronunciación que ha acabado siendo mayoritaria en la actualidad.
Vamos, que la gente en vez de decir subscripción tendía a decir suscripción y por eso esta última se hizo oficial.
-
Re: Superman (James Gunn, 2025)
Cita:
Iniciado por
Branagh/Doyle
Por cierto, "subscripción" es un término absolutamente correcto en castellano (y así lo recoge la RAE). De hecho, su existencia precede a "suscripción".
Otra cosa es que a día de hoy desde la RAE promuevan e incluso recomienden usar "suscripción" porque la reducción del grupo consonántico -simplificada en S-, refleja los usos y costumbres en cuanto a la evolución de esta palabra a nivel de la pronunciación que ha acabado siendo mayoritaria en la actualidad.
Vamos, que la gente en vez de decir subscripción tendía a decir suscripción y por eso esta última se hizo oficial.
Pues gracias por la enseñanza y "recojo cable" con lo que le he dicho al compañero Prime. Como dijo un antiguo Jefe mío: "Lo siento mucho, me he equivocado y no volverá a ocurrir".
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Re: Superman (James Gunn, 2025)
Entrevista de Diego Luna a David y Nicholas en el show de Jimmy Kimmel con un clip, que evoca un momento de los cómics:
https://www.youtube.com/watch?v=LplBx4ZQpPA
No es spoiler (depende del concepto que se tenga de spoiler XD) pero para no ocupar de más
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Re: Superman (James Gunn, 2025)
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Re: Superman (James Gunn, 2025)
Cita:
Iniciado por
jurassicworld
Superman TAS y la Silver Age no son ni remotamente lo mismo. Quien ha escrito eso anda algo perdido.
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Re: Superman (James Gunn, 2025)
En la "Dirigido por" de julio-agosto hay la primera parte (39 pág.) de un extenso reportaje sobre el personaje de Superman.
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Re: Superman (James Gunn, 2025)
Cita:
Iniciado por
jmiguelro
Pues gracias por la enseñanza y "recojo cable" con lo que le he dicho al compañero Prime. Como dijo un antiguo Jefe mío: "Lo siento mucho, me he equivocado y no volverá a ocurrir".
Tu jefe era juancar?
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Re: Superman (James Gunn, 2025)
Cita:
Iniciado por
jmiguelro
En max emiten las películas de forma gratuita no? Me refiero a cuando se retira del cine claro (por eso he escrito "esperaré"). De todos modos, en mi frase hay un sentido condicional, no una afirmación categórica, por si no lo has notado.
Ok, te entiendo, pero verla "gratis" tampoco sería al 100%.
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Re: Superman (James Gunn, 2025)
No he visto F1 en cines.
Si he visto todos los tráileres y spots tanto de F1 como de Superman.
No sé que entiende o quiere decir con "Una peli correcta en lo técnico". ¿Se referirá a dirección, fotografía, efectos especiales y prácticos?
Si es así y por lo visto hasta ahora, estrictamente en fotografía, composición visual, acabados, detalles y calidad de imagen, F1 está por encima.
Luego una vez vistas las películas cada uno sacará sus conclusiones y o dará más importancia a unos aspectos u otros, lícito.
Yo he visto y leído que F1 es muy inmersiva, que gran parte del metraje son carreras y que te mete totalmente en la piel de lo que es la F1, llegando a disfrutarla aunque no sepas nada de F1, lo cual es realmente meritorio.
Claro, tiene la marca de un director (y todo su equipo de rodaje y técnico) que nos ofreció un deleite audiovisual en cuanto a espectacularidad, épica e inmersión con Top Gun: Maverick, cosa que por ejemplo Gunn, para mi nunca ha alcanzado. GoTG I y II si que son visualmente muy atractivas, ricas, coloridas, pero también yo entiendo son cosas/películas/temáticas y directores diferentes.
Pero visualmente, ahora Gunn ha pillado un avión con Superman (Kosinski era para mi una opción para Superman) y visual y técnicamente parece que no ha acertado o se ha quedado corto. Pero cuando vea la película comentaré, que si luego todo o cosas se ven o lucen mejor en grande, y hay escenas épicas o bien rodadas, lo diré sin ningún problema.
Buenos días.
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Re: Superman (James Gunn, 2025)
A ver, este tipo de comentarios son de la gente de la que no hay que hacer ni el mas minimo caso en cualquier concesion en lo filmico.
Son capaces de tirarle mierda a cualquier cosa para ensalzar lo 'que les pertenece'.
Aun no he podido ver F1 (siendo Kosinski, imprescindible verla en salas), pero lo tecnico, el tipo esta muy por encima de la media en cuanto a composicion de planos.
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Re: Superman (James Gunn, 2025)
Cita:
Iniciado por
Marty_McFly
Superman TAS y la Silver Age no son ni remotamente lo mismo. Quien ha escrito eso anda algo perdido.
Otro decia que era Superman 2 con esteroides.
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Re: Superman (James Gunn, 2025)
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Re: Superman (James Gunn, 2025)
Mañana es la premiere inglesa del film, y Warner está tirando la casa por la ventana con la promoción…
The Shard, el rascacielos más grande de Londres, hoy:
https://thumbs2.imgbox.com/cb/bd/0Ur227kj_t.jpeg
https://thumbs2.imgbox.com/9b/bf/UburKtZ7_t.jpeg
Un saludo.
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Re: Superman (James Gunn, 2025)
Cita:
Iniciado por
Dr. Morbius
Muy guapo!!! Yo si trabajo ahí o soy el que lo desmonta me lo llevo a casa xD
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Re: Superman (James Gunn, 2025)
Je, no creo que le dejen a nadie llevárselo :cuniao
Además es bastante tocho: 11 pies de altura (unos 3,35m), 120Kg de peso (fibra de carbono y resina ECO), y ha costado hacerlo 2000 horas de curro, con 20 personas trabajando durante casi cuatro meses:
https://www.londonworld.com/news/sup...-shard-5202389
Desde luego es una de esas flipadas que solo un gran estudio se puede permitir :P
Un saludo.
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Re: Superman (James Gunn, 2025)
Hay por ahi un clip y si, usan el tema de Williams... zimmerizado.
:doh
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Re: Superman (James Gunn, 2025)
Cita:
Iniciado por
PrimeCallahan
Hay por ahi un clip y si, usan el tema de Williams... zimmerizado.
:doh
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Re: Superman (James Gunn, 2025)
Si vas a hacer esto... ¿porque no hacer un tema nuevo?.
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Re: Superman (James Gunn, 2025)
Fan event londinense en Leicester Square, esta misma tarde:
https://thumbs2.imgbox.com/c7/6e/cR6Ch1UF_t.jpeg
https://thumbs2.imgbox.com/e5/8a/ya9dAw4U_t.jpeg
https://thumbs2.imgbox.com/04/f1/RAsVXz4A_t.jpeg
https://thumbs2.imgbox.com/1e/c2/QUTwqjQB_t.jpeg
Al parecer en este evento fan sólo se han podido ver los primeros 30 minutos del film, como hace unos días en Brasil.
Un saludo.
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Re: Superman (James Gunn, 2025)
Cita:
Iniciado por
Dr. Morbius
Al Corenswet le pones una servilleta en el brazo y ya lo confunden con un camarero...
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Re: Superman (James Gunn, 2025)
Cita:
Iniciado por
Sheldon
Al Corenswet le pones una servilleta en el brazo y ya lo confunden con un camarero...
: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.
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Re: Superman (James Gunn, 2025)
No hay manera que le hagan un traje decente al pobre Corenswet...
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Re: Superman (James Gunn, 2025)
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.
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Re: Superman (James Gunn, 2025)
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
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Re: Superman (James Gunn, 2025)
Madre mía. Y la reseña era brutal, terrorífica. Se ha quedado agusto.
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Re: Superman (James Gunn, 2025)
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
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.
-
Re: Superman (James Gunn, 2025)
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
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.
Este punto me da miedo
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.”
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Re: Superman (James Gunn, 2025)
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.
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Re: Superman (James Gunn, 2025)
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
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.
Gracias, aunque prefiero esperar a ver la película. No quiero, por si acaso, spoilearse antes de tiempo.
Spoiler: