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7/14/2025, 9:59:51 AM
>Flashback: Except for that stirring, time-reversal scene in the Superman of 1978, the Christopher Reeve films were clunky quasi-camp. Richard Lester took over the sequels, flaunting his signature light comic touch to prove his superiority to the franchise. But Snyder, being of a later generation, triumphed through expression and dedication that few filmmakers can match — and that Marvel/Nolan addicts simply don’t understand. They tolerated Bryan Singer’s Superman Returns, although it felt both demoralized and uninspired. Snyder overcame all that by bringing visual richness and emotional power. Gunn, instead, infantilizes the tale. His iteration of Superman is just bad business (like Joss Whedon defacing Snyder’s Justice League), even when it veers into social commentary, fashionably evoking the war in Ukraine.
>This Superman demonstrates the perversity called forth everywhere by our media. The pop-art difference between Gunn’s antipathy and Snyder’s mythology is like that between Taylor Swift’s snide “Anti-Hero” and David Bowie’s valiant “Heroes.”
>This Superman demonstrates the perversity called forth everywhere by our media. The pop-art difference between Gunn’s antipathy and Snyder’s mythology is like that between Taylor Swift’s snide “Anti-Hero” and David Bowie’s valiant “Heroes.”
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