Batman Vs Superman Essay

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Director Zack Snyder’s “Batman v. Superman: Dawn of Justice” took its hype train to terminal velocity with a too-big-to-fail marketing approach that eventually crashed into a cinematic cacophony that might just be best to the deaf viewer.
Like dropping names of high-brow friends at a posh party, Snyder lobbed out a pitch some years ago to pin the world’s two most revered superheroes against one another in a sort of theatrical cage match that any unsuspecting moviegoer could sink his or her teeth into.
But that “v.” in the title fails to sate the yearning to see Gotham’s Dark Knight (Ben Affleck) pummel the crap outta the Man of Steel (Henry Cavill) or — more likely — get bludgeoned or lazed to death, himself.
After a few brief — and admittedly gigantic — boxing bouts between these two ComicCon idols, Bruce Wayne and Clark Kent become ‘frenemies,’ each hell-bent on saving
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— well, you can put that on the back burner, because once he/they saves the day everyone again forgets about all those thousands of people he killed when his laser vision wrecked a few city blocks.
Luckily, the cinematographers seemed to acknowledge the extent of the protagonists’ might, panning over swathes of Smallville or tracts of urbania during fights, rerouting viewers’ attention from the monotonous dialogue.
And to the effect that everyone was begging for after those gloomy trailers, “Batman v. Superman” darkened (literally) the setting of high school-esque drama developing into a tag-team beatdown of Supe’s arch rival, Lex Luthor (Jesse Eisenberg) or, rather, the Kryptonian mutant he concocted.
In those gargantuan-scale action sequences, which tended to span miles because Superman would throw people so damn far, Snyder paints captivating scenes of infrastructure ablaze crumbling to the

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