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#Man of steel blu ray easter eggs movie
By emphasizing Batman, they risked lessening the value of their other characters and losing a shot to turn (as Marvel successfully did) B-level superheroes into A-level movie stars. announced at that year’s SDCC that the presumed Man of Steel 2 would become a Batman/Superman movie pitting the Dark Knight Detective against the Last Son of Krypton, there was a real risk and little comparative gain to emphasizing Batman in building a cinematic universe.
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As such, again with the benefit of hindsight, why not go with something closer to Snyder’s cut, which would have saved a fortune on reshoots and arguably grossed about the same amount of money? See also: Disney’s Solo: A Star Wars Story.Īs I wrote right when Warner Bros. Justice League may have always been doomed to be a victim of the “Tomb Raider Trap” whereby a superior sequel to a mediocre hit predecessor bombs because audiences are once (or twice) bitten and twice shy. Some of the audience rejection (comparatively speaking) was due to distaste over Man of Steel ($291 million domestic and $668 million worldwide) and Batman v Superman ($330 million/$873 million). By default, the emphasis is no longer on Cyborg but on Batman.Īlas, the theatrical cut allegedly cost around $300 million, and it opened amid mixed-negative reviews to $93 million before limping to $229 million domestic and $659 million worldwide. However, the totally new Whedon scenes are ones featuring the team bickering amongst themselves, character beats that emphasize Bruce’s guilt over Superman’s death and (to a lesser extent) Diana’s guilt over Steve Trevors’ death and fears of leadership. Each grieving superhero was given enough backstory to explain how finding a surrogate family alongside other superheroes would make them happier and kinder sons, daughters or surrogate parents. Every hero had their screen time cut down (including Ezra Miller’s Barry Allen rescuing an unnamed Iris West from vehicular peril) in the truncated cut. This stuff is all implied in the theatrical cut, although Victor’s anger at his scientist father (Joe Morton, classing up the joint per usual) is more about his anger at being turned into a machine and his fear over being a tool for the enemy rather than “mom died because dad prioritized work over family.” If Cyborg’s not quite the lead character he’s the eventual audience surrogate whose emotional arc serves as the climax for the film’s “save the world” finale.Īll of the past-tense content, including a “Here’s your powers and what you can do with them” montage made less terrifying by Morton’s soothing voice over, was removed from the theatrical cut. Most of the truly new (and not just expanded or reworked) footage concerns an elaborated backstory for Ray Fisher’s Victor Stone, specifically how the promising young football player/tech genius and all-around nice guy lost his mother in a car accident and was himself brought back from near-death by one of the film’s MacGuffins (a Mother Box). reacted to disappointment by over relying on Batman. It’s still the same core movie, which merely implies that Whedon’s (studio-mandated) version was about getting it under two hours and crafting a more standalone direct sequel to Wonder Woman and Dawn of Justice versus Snyder’s world-building “mythology episode.” The most substantive change is Whedon’s explicitly new footage in the second half that pushes Ray Fisher’s Cyborg to the background while giving the spotlight to Ben Affleck’s Bruce Wayne. The differences range from obvious (it’s 243-minutes long and presented in IMAX-friendly 1.44:1) to subtle (there’s a lot of “show don’t tell” character work where the theatrical cut emphasized on-the-nose arcs and exposition). Now that folks have seen Zack Snyder’s Justice League, we can all discuss how it differs from the theatrical cut.