Sentences with phrase «superhero film genre»

The film arrived at a time when the superhero film genre was still figuring itself out, with hits coming from the X-Men and Spider - Man franchises and complete disasters arriving in the form of Daredevil and Catwoman.

The character who almost single handedly reversed the criticisms of Marvel's «villain problem,» Erik Killmonger is perhaps the most compelling villain in the entirety of the superhero film genre.

Not exact matches

Themes of faith and fatherhood animate this film, in which we observe the maturation of Hugh Jackman's Wolverine, and of the superhero genre.

Its savvy comic flair and subversion of familiar genre tropes also make this one of the better superhero films, animated or otherwise, to be released in recent years.

While it's hard to deny the ineffectiveness of both Peter Berg's directorial choices and the film's final half hour, Hancock primarily comes off as an engaging and thoroughly innovative spin on the superhero genre - with Will Smith's admittedly impressive performance certainly ranking high on the movie's list of positive attributes.

There is real wisdom and honesty in every moment of the film, and that's refreshing in a genre that is built largely on fantasy every bit as disconnected from our reality as any superhero film.

The future of blockbuster films such as these lie with directors like Coogler (and Patty Jenkins, and Taika Waititi), ones who are bringing much - needed new life and ideas to the superhero genre.

Mangold, a replacement for original director Darren Aronofsky, is new to the superhero genre, and hasn't directed a film since the disappointing 2010 action - comedy Knight and Day, but his approach to The Wolverine (it sounds more like a samurai film than anything else) suggests it should at least be an improvement over X-Men Origins: Wolverine.

And yet, amid all that overdue and well - deserved scorn, the lone aspect of Deadpool 2 that is treated with gravid, wet - eyed sincerity — the thing the film wants us to care most deeply about, that acts as the plot's triggering action — is itself the biggest, oldest, dumbest and most useless superhero - genre cliche of them all.

Then, as told partly in flashback as Arthur (Harrelson) is being interviewed by a court - appointed psychiatrist (the underrated Sandra Oh), the safe distance that gives the audience derails the pace and the film becomes more serious than it ought to, no matter the subject matter and this results in it becoming every «realistic» work that looks down on the idea of either a superhero or the genre.

As Stark now looks to take on the Mandarin (Ben Kingsley), a celeb - terrorist who has bio-engineered a group of Americans into unknowing time bombs, Black begins to take apart the accepted boundaries and structures of the superhero film, and if he still employs a variety of familiar genre tropes, he certainly dismantles as many as he indulges.

While there are still hindrances and biases against certain films and genres (like superhero films, comedy or sci - fi), we could see some interesting things unfold this season and in the years to come.

From giving an anti-Superhero movie Best Picture to trying to tell the public they're sick of the genre, Hollywood believes that by crafting a fake «Superhero Fatigue» narrative people will stop going to see movies they like and will instead see boring Oscar - bait films.

By 2016, when the first film was released, superheroes were already funny, but Deadpool 2 imagines an alternate timeline where the genre is still in desperate need of levity.

Because until those last 20 minutes, and in particular in the film's second act, Jenkins flirts with a bevy of ideas that feel fresh to the superhero genre, the most scintillating of which is that Diana could be wrong about how to save the world.

In previous Marvel films, character deaths served their usual superhero - genre purpose: They motivated the heroes into action.

Scarlett Johansson is continuing her current reign of the superhero genre by starring in Luc Besson's latest film, «Lucy».

Blade, to the fresh eye, free of the fandom surrounding the character, comes across as the kind of film that is probably closer to a B Movie in the action genre than a superhero flick, as it is branded to be.

That in itself is a most grueling feat as Winter Soldier was one of those rare superhero films that transcends the genre with its welcoming 70s political tones.

Hasty Pudding said it chose the Ant - Man star because his career has spanned many genres, from indies to mainstream films, from heartfelt comedies to superheroes.

Those films not only gave us great action and original, relatable protagonists, they did so while maintaining an invigorating anarchic streak that allowed them to affectionately mock the homogenised, mythology - obsessed modern superhero genre without completely compromising their broader commercial prospects.

In the hours surrounding teaser trailer, Trank and screenwriter Simon Kinberg talked with Collider, Empire Online and Yahoo! Movies about their frame of mind for the film and setting it apart from what they see as the commodified superhero action genre.

«I would say that the science fiction of it is a big thing that sets it apart from most of the other superhero genre films,» Trank says.

There's also the mixed messages the film relies on, tearing down the superhero genre conventions in the first half only to indulge in them in the second.

Del Toro is a firm genre favourite, from his horror debut Cronos (1994), to the superhero film Hellboy (2004), his gothic fairytale Pan's Labyrinth (2006) and the science fiction monster flick Pacific Rim (2013).

Last week, Fox dropped the first trailer for its upcoming X-Men spinoff film The New Mutants, and it proved to be every bit the horror - inspired riff on the superhero genre that director Josh Boone promised it would be.

As the YouTube critic Really That Good pointed out in November, superhero films as they've been produced in the last decade belong to their own innovative genre.

Indeed, relaying the tale with a standard narrative approach would have relegated the film to the realms of yet another superhero movie, rather than a spirited take on the tried and tested genre.

With its tongue firmly placed in its bloodied cheek, the film is an over-the-top raucous twist on the superhero genre.

It was also a year where even genre skeptics could give in to superhero domination, as so many superhero films turned out good or even great (there's six on this list).

Wonder Woman is a strong and at times rousing application of the superhero film formula, but it can't transcend the constraints of the genre.

What they find in there is both easy to figure out (stuff is mutating), beautiful and scary and weird (stuff is mutating) and inexplicable (most of the why and a bunch of other side mysteries), explored in a mostly unsatisfactory blend of arthouse stillness and genre thriller scares, part of a burgeoning subgenre of sci - fi films that I suppose function as a counterweight to the more populist nonsense of superhero sc - fi.

In addition to the plethora of comic book - based superhero movies in the next few years, there are a variety of other films such as science fiction, fantasy and action under the umbrella description of «genre.»

And it offers up what has to be the last word in fan - service mid-credits stinger, in which our hero borrows Cable's time - travel gizmo to not only undo most of the plot of the film, but also all of Reynolds» previous forays into the superhero genre.

Matt's MCU retrospective begins with the superhero film that would bring a new dimension to the genre and a paradigm shift to blockbuster franchises.

By comparison, Diana's efforts to stop the Great War provide a sense of hope not present in films like Man of Steel or Batman v Superman, while also taking the superhero genre out of an urban environment and contrasting Diana's supernatural powers against early 20th century firepower and chemical weapons.

to the Movies finds our egocentric, wildly satirical Super Heroes in their first feature film extravaganza — a fresh, gleefully clever, kid - appropriately crass and tongue - in - cheek play on the superhero genre, complete with musical numbers.»

Such bad taste is par for the course in this Wayans Brothers production superficially patterned after Scary Movie, their hilarious spoof of horror films that inspired a host of take - the - money - and - run parodies of other genres, including Not Another Teen Movie, Date Movie, Epic Movie, Superhero Movie, Meet the Spartans and Disaster Movie.

Viewed today, Tim Burton's Batman, the runaway # 1 film of 1989, is silly at times (particularly when utilizing original songs by Prince), but it unquestionably kept the superhero movie alive, bridging the genre's gap between the diminishing returns of the Christopher Reeve Superman series» good - natured fun and the Spider - Man - led revival of the early 21st century.

But while summer spectacles have grown ever larger in recent years, the monster movie — the original city - smashing genre — has mostly ceded the multiplexes to superheroes and more apocalyptic disaster films.

According to THR, the film is a «subversive» take on the superhero genre, with additional details being kept under wraps for the time being.

Are we entering the era of the R - rated superhero film, or is there something else about these two films that the genre should be learning?

In one of the most highly - anticipated action films (or movies of ANY genre, to be honest) in years, Marvel Sudios, in conjunction with Paramount Pictures, has produced another superhero winner, and making the total worth more than the sum of its parts.

Thor: Ragnorok (Taika Waititi, 2017) The superhero film is basically a dead, bankrupt genre at this point, but how terrific that this film, along with James Mangold's Logan (2017) both found something new to say with a clapped out, horrifyingly codified genre.

But those films, for all of their genre manipulations, were still superhero movies first and these other genres second, still founded on spandex and leather costumes and world - threatening villains.

However, while promoting that movie she let slip an idea that we hope she genuinely takes on, because it's basically an awesome take on the superhero genre that we haven't really seen in film before!

They're dropping like flies to this wild and crazy genre of female superheroes, a genre which has produced films that are so truly, god awfully bad that one can only gaze into the night sky and hope to see an incoming meteor that will end the agony.

«Homecoming» works by allowing itself to become an actual genre film, the first of its ilk to recognize that superhero movies might be more interesting if they were also something else.

It doesn't just dare to make fun of the genre — it does so while showing off what actually makes a good superhero film.

Reynolds and co-writers Rhett Reese and Paul Wernick (returning from 2016's Deadpool) understand that the film's irreverence is rooted in a fealty to the superhero genre.