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Old 11-30-2019, 10:23 PM   #2776
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Variety: DC Films Plots Future With Superman, Green Lantern and R-Rated Movies
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DC Films appears to have hit its stride, rebounding from the commercial failure of “Justice League” and the critical drubbing of “Batman v. Superman: Dawn of Justice” with a few well-timed box office successes. “Aquaman” and “Joker” both generated over $1 billion at the global box office, becoming the first DC productions to reach those lofty figures since Christopher Nolan wrapped up his Batman trilogy with 2012’s “The Dark Knight Rises.” The studio also scored with last spring’s “Shazam!,” a cheeky spin on the spandex genre, and has high hopes for upcoming releases such as “Wonder Woman 1984” and “Birds of Prey.”

“They’re on the upswing,” said Shawn Robbins, chief analyst at BoxOffice.com. “They had a rocky period, but they’re starting to find their footing.”

DC Films may have achieved more consistency when it comes to reviews and box office performance, but there are still hurdles to overcome. Namely, the company and its parent studio, Warner Bros., have yet to figure out what to do with iconic characters Superman and Batman. The studio is farther along when it comes to Bruce Wayne’s alter ego, having re-cast the role most recently played by Ben Affleck with the younger and edgier Robert Pattinson. The former “Twilight” heartthrob has moved beyond his tween idol days, appearing in indies for the Safdie brothers, David Cronenberg, and Robert Eggers. He will don the cape and cowl in “The Batman,” which will be directed by Matt Reeves (“Dawn of the Planet of the Apes”) and will feature villains such as the Riddler (Paul Dano), Penguin (Colin Farrell), and Catwoman (Zoe Kravitz).

There had been chatter that the entire film would unfold in Arkham Asylum, the high-security prison known to comic book fans for housing super-criminals, but that is not the case, according to insiders. Only a handful of scenes will be set at Arkham. If the movie works, Warner Bros. and DC believe that any of these villains could headline their own spinoff movies. Key cast members in both “The Batman” and “Birds of Prey” have contract options to appear in sequels and standalone films.

The studio has less clarity on what to do with Superman, a character who has now been rebooted two different times in the last 13 years, once with Brandon Routh (“Superman Returns”) and later with Henry Cavill (“Man of Steel”) without landing on a winning strategy. Superman has also appeared frequently on television, in shows such as “Lois and Clark” and “Smallville,” which has led to some fears at Warners that the market could be over-saturated with hot takes on all things Clark Kent.

To help find a way to make Superman relevant to modern audiences, studio brass has been polling lots of high-profile talent. There have been discussions with J.J. Abrams, whose company Bad Robot recently signed a massive first-look deal with the studio, and there was a meeting with Michael B. Jordan earlier this year with the “Creed” star pitching Warners on a vision for the character. However, Jordan isn’t ready to commit to taking on the project since filming doesn’t seem likely to happen for several years and he has a full dance card of projects. Insiders think that a new Superman film is unlikely to hit screens before 2023, given that there’s no script and no director attached.

Internally, insiders are quick to credit Walter Hamada, the longtime New Line executive who was brought on board in 2018 as president of DC Films, with helping to plot a new, more sustainable course for the DC cinematic universe. He’s credited with having a strong sense of story and with keeping a firm eye on the bottom line, reining in budgets so productions don’t go off the rails. It also helps that he is closely allied with Warner Bros. film chief Toby Emmerich, with both men having worked together on past New Line hits such as “It” and “The Conjuring.” Insiders believe that under the former regime of top DC film executives Jon Berg and Geoff Johns and DC Entertainment head Diane Nelson, there were too many decision makers involved, leading to the lack of a clear vision. They also maintain that Warner Bros. erred by initially rushing movies in the hopes of making release dates that had been snapped up before scripts were even fully in place. Emmerich has made righting the DC ship a key priority since taking control of the studio in 2017.

“Their initial mistake was that they tried to do too much, too fast,” said Robbins. “They were trying to copy the Marvel model, but that took time and years of building up characters. You can’t start with a big ensemble movie. You need to earn that.”

Under Hamada and Emmerich, the studio has become more comfortable with backing comic book movies for adults. “Joker” became the first DC release to nab an R rating, but it won’t be the last. “Birds of Prey” is also expected to get a similar rating and insiders predict that James Gunn’s upcoming “Suicide Squad” sequel will also be R-rated. In the case of “Birds of Prey,” the film won’t be in the pitch-black, grim vein of “Joker.” Insiders describe the film has a more humorous, spirited, girl gang adventure, albeit not one for younger children. A series of recent reshoots dramatically improved test screening results and the studio is confident “Birds of Prey” will be a hit when it opens in February.

Analysts believe the studio has hit upon a smart strategy — 20th Century Fox had backed R-rated comic book movies such as “Deadpool” and “Logan,” but after being bought by Disney, which prefers its heroes to be cleaner and less prone to f-bombs, it’s unclear if it will continue to back those type of projects.

“There’s a huge appetite for R-rated superhero movies and if Marvel isn’t going to step up, that presents an opening for DC to tap into that audience,” said Jeff Bock, an analyst with Exhibitor Relations.

Beyond embracing the darker undercurrents of the DC canon, the company is also revisiting characters that they believe were ill-served by previous big screen adventures. “Green Lantern Corps” remains a priority despite the fact that 2011’s “Green Lantern” was a high-profile commercial disaster. Johns is delivering a script at the end of the year. The project may be presented to Abrams and Bad Robot to see if the company would be interested in producing the picture. However, Greg Berlanti, another major talent on the Warner lot, is partnering with Johns on a “Green Lantern” television show. There’s speculation that relationship could lead to his involvement in a feature film.

Warners and DC also still have faith in Ezra Miller’s smart-ass interpretation of the Flash and are proceeding with development on a standalone film based on the character. DC has tapped “It” director Andy Muschietti to oversee the movie and has enlisted Christina Hodson (“Bumblebee”) to write the screenplay — Hodson will finish that assignment that before moving on to write a screenplay for “Batgirl.” Production on “The Flash” won’t be able to start until Miller finishes up work on the next “Fantastic Beasts” film, which means that cameras are unlikely to roll until 2021.

DC is also looking to capitalize on the box office success of “Aquaman.” It is currently looking for a director for “The Trench,” a spinoff about a group of vicious undersea creatures who played a supporting role in “Aquaman.” For the next film centered on Jason Momoa’s king of Atlantis, DC has once again tapped James Wan and is hoping to commence shooting in early 2021.

DC’s future won’t unfold entirely on the big screen. HBO Max, WarnerMedia’s upcoming streaming service, is currently looking for DC properties that could inspire films to premiere on its platform. It hopes to make DC adventures that have slightly lower budgets, requiring them to rely on up-and-coming actors and not established stars, with a goal of keeping production costs under $65 million.

The launch of HBO Max had inspired some hopes that Warner Bros. might allow Zack Snyder to release a director’s cut of “Justice League,” leading to a social media campaign dubbed #ReleaseTheSnyderCut. Snyder directed an earlier version of the ill-fated super-team movie and had planned to do some reshoots. However, after his daughter died, he was not able to complete production and was replaced by Joss Whedon, who injected a more light-hearted tone into the final film. Logistically, however, there’s little appetite at the studio for spending the millions of dollars it would require to finish visual effects and editing work on Snyder’s version, particularly as “Justice League” was a commercial disaster. There are currently no plans to release a Snyder version either in theaters or on HBO Max.

“That’s a pipe dream,” said one knowledgeable insider. “There’s no way it’s ever happening.”
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Old 12-01-2019, 12:21 AM   #2777
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Henry Cavill Is Still Superman

After reading that interview I truly believe Cavill wants to stay on as Superman, I also believe DC/WB is done with him and ready to move on.
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Old 12-01-2019, 05:13 AM   #2778
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BvS and JL performed too bad and wowed hardly enough people. They need to distance themselves from the Cavill movies in order to move on. Even if Cavill himself deserves none of the blame.
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Old 01-16-2020, 01:28 AM   #2779
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Aquaman: King of Atlantis to Reign Supreme with New HBO Max Three-Part Animated Mini-Series Executive Produced by James Wan
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HBO Max announced today at the WarnerMedia Television Critics Association (TCA) day, a greenlight for a three-part animated mini-series Aquaman: King of Atlantis that will be executive produced by James Wan(Aquaman and the upcoming Malignant) through his Atomic Monster production company. Based on the classic DC character created by Mort Weisinger and Paul Norris, each of the standalone episodes will have a unique storyline following the adventures of Aquaman as protector of the deep. Aquaman: King of Atlantis joins HBO Max’s powerhouse animation line-up that includes Looney Tunes Cartoons, Jellystone, Adventure Time: Distant Lands, Little Ellen, Gremlins: Secrets of the Mogwai, Rick and Morty, The Boondocks and more.

“This DC property is a fan-favorite rich with well-known characters and dynamic storylines,” said Sarah Aubrey, head of original content, HBO Max. “On the heels of Warner Bros. Pictures’ box office smash hit, we are certain Aquaman: King of Atlantis will be an exciting addition to our already robust slate of kids and family programming.”

Produced by Warner Bros. Animation, the series begins with Aquaman’s first day on the job as king of Atlantis and he’s got a LOT of catching up to do. Luckily, he has his two royal advisors to back him up – Vulko, the scholar, and Mera, the water controlling warrior-princess. Between dealing with unscrupulous surface dwellers, elder evils from beyond time and his own half-brother who wants to overthrow him, Aquaman is going to have to rise to the challenge and prove to his subjects, and to himself, that he’s the right man for the trident!

The series is executive produced by James Wan, Atomic Monster’s Michael Clear(Annabelle Comes Home), Rob Hackett (Swamp Thing) and Sam Register (Teen Titans Go!). Victor Courtright (ThunderCats Roar!) and Marly Halpern-Graser (Batman vs. Teenage Mutant Ninja Turtles) will serve as showrunners and co-executive producers.
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Old 01-16-2020, 04:45 AM   #2780
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Henry Cavill Is Still Superman

After reading that interview I truly believe Cavill wants to stay on as Superman, I also believe DC/WB is done with him and ready to move on.
Cavill will always be Superman to me. He was perfect. However, WB is clearly headed in a different direction, and it seems like Cav-El is out and Superman isn't a big theatrical priority at this point. At least Supes is getting his own TV series, and I'm warming up to Tyler Hoechlin as a suitable TV Kal.
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Old 01-16-2020, 05:02 AM   #2781
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Cavill will always be Superman to me.
Christopher Reeves is definitely my Superman (the one there as I grew up) with Tim Daly and George Reeves (because of syndicated episodes) somewhere next.
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Old 01-16-2020, 05:08 AM   #2782
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Christopher Reeves is definitely my Superman (the one there as I grew up) with Tim Daly and George Reeves (because of syndicated episodes) somewhere next.
That's the case for a lot of people in my age bracket, but I never cared for anything in the Superman Quadrilogy other than Reeves trying his best. I tried to watch 1&2 in 2018 and they were even worse than I remembered. Conversely, Man of Steel is my favorite DCEU film and it gets better with each viewing.
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Old 01-16-2020, 01:34 PM   #2783
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I tried to watch 1&2 in 2018 and they were even worse than I remembered. Conversely, Man of Steel is my favorite DCEU film and it gets better with each viewing.
I couldn't disagree more. Snyder, Goyer (and Terrio in BvS and Justice League) don't get the character at all, his supporting cast is transformed into the most cynical versions of themselves, to the point where it all feels like Irredeemable, Squadron Supreme or Injustice, but not like Superman at all.

The first Reeve still holds up, 70s clothes notwithstanding. The Williams score still gives me chills, Christopher Reeve's sublime Clark Kent performance and his confident-but-not-arrogant Superman truly hit the sweet spot. Kidder was a fantastic Lois, Hackman was a magnificent Luthor (although Otis did get on my nerves a bit), and Jimmy survived the first 13 minutes. I'm set to rewatch Superman 2 in April, and while Lester certainly dragged down the whole movie, there are still scenes I'm looking forward to.
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Old 01-16-2020, 02:24 PM   #2784
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^Agree all around. When I was a kid and a teen I liked Superman 2 more just because of the Zod fight. Now, I see its weaknesses, especially in the humor. But it doesn't drag down the good bits (which I'd mostly assign to Donner) and #1 still holds up. Reeves portrays Supes like the inspiring hero he is.

Man of Steel
lost me as soon as Jonathan Kent went from the inspiring, heroic father to never-put-yourself-on-the-line cynic. I own it (and didn't pay much, IIRC), but I'm not sure I've even re-watched it.
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Old 01-19-2020, 01:10 PM   #2785
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I couldn't disagree more. Snyder, Goyer (and Terrio in BvS and Justice League) don't get the character at all, his supporting cast is transformed into the most cynical versions of themselves, to the point where it all feels like Irredeemable, Squadron Supreme or Injustice, but not like Superman at all.

The first Reeve still holds up, 70s clothes notwithstanding. The Williams score still gives me chills, Christopher Reeve's sublime Clark Kent performance and his confident-but-not-arrogant Superman truly hit the sweet spot. Kidder was a fantastic Lois, Hackman was a magnificent Luthor (although Otis did get on my nerves a bit), and Jimmy survived the first 13 minutes. I'm set to rewatch Superman 2 in April, and while Lester certainly dragged down the whole movie, there are still scenes I'm looking forward to.
I'm sorry, but I've never understood what anyone sees in those films outside of Reeve's acting. Hackman's Luthor was a snarky snake oil salesman and Hackman looked like he wanted to be anywhere else but doing the film. Kidder's Lois was shrill and self-absorbed. While there is some basis in the comics for her being so hurtful to Clark (in the 30s comics), Donner made her abrasive and completely unlikable. And while Superman was dumb enough to give away one of his weakness in an interview (UGH!), that abominable story point pales in comparison to the ending of the film, which I still contend is the worst ending to any theatrical adaptation of a comic book. Even at age 5, I knew that reversing the rotation of the Earth would destroy it, not turn back time. As I got older and I was able to read the early comics, I saw that Superman had the ability to fly fast enough to open up wormholes. That would have been perfectly acceptable, but evidently no one at Warner Brothers in the 1970s either read Superman comics or understood elementary school-level science.

And Superman 2, still the best film of the 4, contains my least favorite moment in any comic book film. Superman, the avatar of comic book heroism and sentinel of the entire world, evidently valued doing the horizontal mambo with his girlfriend over being a nigh-immortal guardian to humanity. Had Zod & Co. not shown up, Kal would have presumably stayed human and eventually died instead of saving countless lives and preventing disasters over the coming centuries. Some hero. And you say he wasn't arrogant? Well, I'd say going back with his super powers and brutalizing a bully was more than a bit arrogant. Even teenage Kal in Man of Steel knew that he couldn't cross that line.

And don't even get me started on Superman's non-canonical powers and those hideous special effects, which looked awful by the 90s. Amnesia kisses, giant cellophane S things, and rebuilding buildings with his eyes? Uh...OK. And while I appreciate the attempt at comic accuracy for the costume, who in the world approved that cheap material? It looked horrendous.

The only scene that really holds up from those 4 films is the junkyard fight in Supes 3. Now that was inspired and it wasn't hindered with the usual Hollywood cheesefest that infected the rest of the franchise.
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Old 01-21-2020, 06:28 PM   #2786
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Yo.

fair points made to be sure, but if I'm to be honest: even with all of the errors, mis-steps & Hollywood cheesiness the Reeve-films had baked into them, I'd *still* rather watch those on a lazy day than MoS (which has an awesome tweak to Krypton that I absolutely loved) BvS (which gets most of its cool point for how it handled WW's entrance).

Y?

its simple: at the end of the movie, I wanna feel that Ive seen something awesome about somebody Very Special.....and those last 2 flixx miss that target. COMPLETELY.
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Old 01-21-2020, 06:41 PM   #2787
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Even at age 5, I knew that reversing the rotation of the Earth would destroy it, not turn back time.

I always assumed the reversal of Earth's rotation in those shots was simply SHOWING that time was going back, not the METHOD of turning it back. In other words, I just assumed that Superman flying that fast somehow allowed him to travel back in time, and all the shots of the Earth turning backward, or faultlines repairing themselves, etc. were just showing us that was what was happening in a more dramatic fashion than just having Superman pop through a wormhole and suddenly it is a few hours earlier. Why, if all the other reversed shots are clearly the results of the reversal, would we assume that the Earth turning backward was the cause, and not simply another result?
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Old 01-21-2020, 07:45 PM   #2788
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I always assumed the reversal of Earth's rotation in those shots was simply SHOWING that time was going back, not the METHOD of turning it back. In other words, I just assumed that Superman flying that fast somehow allowed him to travel back in time, and all the shots of the Earth turning backward, or faultlines repairing themselves, etc. were just showing us that was what was happening in a more dramatic fashion than just having Superman pop through a wormhole and suddenly it is a few hours earlier. Why, if all the other reversed shots are clearly the results of the reversal, would we assume that the Earth turning backward was the cause, and not simply another result?
Exactly.
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Old 01-21-2020, 11:26 PM   #2789
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I always assumed the reversal of Earth's rotation in those shots was simply SHOWING that time was going back, not the METHOD of turning it back. In other words, I just assumed that Superman flying that fast somehow allowed him to travel back in time, and all the shots of the Earth turning backward, or faultlines repairing themselves, etc. were just showing us that was what was happening in a more dramatic fashion than just having Superman pop through a wormhole and suddenly it is a few hours earlier. Why, if all the other reversed shots are clearly the results of the reversal, would we assume that the Earth turning backward was the cause, and not simply another result?
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Exactly.
I kind of doubt that they meant it that way, but I have heard it explained along those lines and basically take it that way too. Ditto Star Trek's sling shooting around the sun at warp 10. There it's not the rotation that does the work, but the extra gravity slips them through time.
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Old Yesterday, 08:19 AM   #2790
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Yo.

fair points made to be sure, but if I'm to be honest: even with all of the errors, mis-steps & Hollywood cheesiness the Reeve-films had baked into them, I'd *still* rather watch those on a lazy day than MoS (which has an awesome tweak to Krypton that I absolutely loved) BvS (which gets most of its cool point for how it handled WW's entrance).

Y?

its simple: at the end of the movie, I wanna feel that Ive seen something awesome about somebody Very Special.....and those last 2 flixx miss that target. COMPLETELY.
:/



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That's exactly how I felt after Man of Steel. It accomplished what so many other live-action versions of Superman haven't: shown the disenfranchised alien. His childhood was brutal, he didn't want his power, the world didn't trust him as Superman, he found himself at the center of Krypton's last power struggle, yet he still found the intestinal fortitude to do the right thing. That's the Superman that I always wanted to see.

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I always assumed the reversal of Earth's rotation in those shots was simply SHOWING that time was going back, not the METHOD of turning it back. In other words, I just assumed that Superman flying that fast somehow allowed him to travel back in time, and all the shots of the Earth turning backward, or faultlines repairing themselves, etc. were just showing us that was what was happening in a more dramatic fashion than just having Superman pop through a wormhole and suddenly it is a few hours earlier. Why, if all the other reversed shots are clearly the results of the reversal, would we assume that the Earth turning backward was the cause, and not simply another result?
And did that fail miserably. You can clearly see the Earth start to rotate backward when Superman begins to make his loops, and all of those reversing shots are cringeworthy cheesefests. He wasn't intervening to stop key past events, he was making them run backward.

Like I said, I don't have a problem with the concept at its core, but the execution was monumentally bad. I would have loved to have seen him fly of into space and begun to fly so fast that he literally rips through the fabric of space and time to stop Luthor before he got a chance to bring out the Kryptonite bling. The paltry special effects of the 70s may not have been able to make this look perfect, but it would have made much more sense than what we got.
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Old Yesterday, 01:37 PM   #2791
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he found himself at the center of Krypton's last power struggle, yet he still found the intestinal fortitude to do the right thing.
Debatable.
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