We surely would have surmised that the identical first names of Bruce’s dead biological mother and Kal-El’s adoptive mother-Martha-would come into play eventually, but the film is so worried that somebody might not get it that it has Thomas Wayne croak “Martha” with his dying breath, then finds ways to keep repeating “Martha” over the next two hours, building toward a reprise-flashback of Bruce’s parents’ murder that will bring latecomers up to speed.
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Superman” is a disorganized, lead-footed movie that carries itself with unearned confidence you see every card it’s about to play ten minutes before the movie plays it, yet Snyder doesn’t just slap each one down on the table with gusto, he keeps pointing to it and telling you what rank and suit it is. Unfortunately, the script’s early promise recedes as the movie unreels. (If industry reports are to be believed, this was a last minute decision by Warner Bros., which preferred the financial safe-bet Batman to the recently revitalized Supes.)
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But despite the presences of touchstone DC characters-including a smarmy, psychotic, tech-douche version of Lex Luthor (Jesse Eisenberg, fidgeting and yammering like Jeremy Davies) ageless Amazon warrior Wonder Woman (Gal Gadot) ace reporter and Superman gal pal Lois Lane (Amy Adams) Alfred the Butler (Jeremy Irons) Daily Planet editor Perry White (Laurence Fishburne) and Ma Kent (Diane Lane)-this is ultimately an overstuffed, overpopulated, awkwardly plotted Batman picture that relegates the Man of Steel to a glorified supporting role. The title promises an even distribution of screen time. In comparison, Superman seems a more balanced character: aside from the presence or absence of glasses or a cape and the stress of maintaining his cover story (he gets so preoccupied by an unauthorized investigation of Batman’s vigilantism that he starts screwing up his regular duties at the Planet), Clark Kent and Superman are essentially the same guy. I keep referring to the cowled hero as Bruce because, more so than any Batman picture, “Batman v Superman” treats the Caped Crusader as a scary-awesome manifestation of ordinary neuroses, practically a lycanthropic rodent-beast who emerges at night, summoned by his own monogrammed spotlight-moon. He sees Kal-El as a clueless and careless false god whose powers must be neutralized, lest humans get so comfortable with worshiping “aliens” that they set the stage for a takeover by more Zods. Re-traumatized by a 9/11-style disaster that kills dozens of his employees, including a young girl’s mother, he channels his anger and helplessness into a preemptive war against Superman, to be carried with biomechanical armor and Bat-tech fortified by Kryptonite. This is the film’s most affecting and original sequence, in large part because it takes a persistent complaint against “Man of Steel”-that the supposed Boy Scout from Krypton was callously oblivious to collateral damage-and retrofits it, so that it looks like something “Man of Steel” always meant to do, the better to provide strong, simple motivation for Bruce.
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(The sequence also portrays Wayne as a somewhat detached one-percenter who’s ashamed at having taken his work “family” for granted-a thoughtful touch.)
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But it makes sense when you get to the next scene, a replay of the Metropolis-leveling “Man of Steel” showdown between Superman (Henry Cavill) and General Zod (Michael Shannon) from the point-of-view of Bruce Wayne/Batman (Ben Affleck), who sees hundreds of members of his adopted professional “family” killed when Wayne Industries’ Metropolis office is damaged in the super-fight. Goyer (“Blade,” “Dark City”) and directed by Zack Snyder (“Man of Steel,” “Sucker Punch,” et al), this sequence initially plays like one more visit to a dried up well. As co-written by Chris Terrio and David S. The story begins with yet another flashback to young Bruce Wayne witnessing his parents’ murder by a gun-wielding mugger, followed by a bracketing trauma, his encounter with a flock of bats in a cave near stately Wayne Manor. That’s a compliment if you prefer these movies to be ponderous, disorganized and glum, but a warning if you prefer tonal variation from film to film and scene to scene, and have a soft spot for storytelling that actually tells, you know, a story, as opposed to doing an occasionally inspired but mostly just competent job of setting up the next chapter in a Marvel-styled franchise.
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“Batman v Superman: Dawn of Justice” is state of the art epic superhero filmmaking.