An R- Rated Batman V Superman Is Bad News For Superhero Movies. This author is of the mind that an opinion piece should make the opinion in question crystal clear, so here it is: The idea of an R- rated “adults only” movie about Superman is a perversion. That usage of “perverse” is, of course, not intended to be taken in the actionable sense; the idea in question isn’t an “obscenity.” The purported “R- rated Director’s Cut” of Batman V Superman: Dawn of Justice should not be banned, censored or restricted by any means outside those already established by the rating itself.

The decision to produce it as such is not only allowable, but also artistically and creatively valid: If DC Entertainment, Warner Bros., director Zack Snyder and everyone else involved have decided to produce a movie featuring three iconic pop- culture figures originally created for an audience of school- age children, and beloved by generations of the same, that is so sadistically violent and/or gratuitously explicit that it can easily be made to qualify for a rating that declares it (proudly, no less) unfit for those very children, they have every right to do so. But it’s an awful idea, one that along with sounding like something out of an Idiocracy- style satire of a dystopian cultural- wasteland (“Now Playing: Batman, Superman & Wonder Woman: Not Suitable For Children Under 1. DC Cinematic Universe intended to be launched by it – and could very plausibly mean catastrophic things for the superhero genre as a whole. Romance Movies Download Star Wars: The Force Awakens (2015) more. Does that make you angry?

Batman V Superman is apparently grim enough to warrant an R-rating on home video - and that could be a really bad sign.

Batman is a fictional superhero appearing in American comic books published by DC Comics. The character was created by artist Bob Kane and writer Bill Finger, and. Batman (Ben Affleck) and Superman (Henry Cavill) share the screen in this Warner Bros./DC Entertainment co-production penned by David S. Goyer and Chris Terrio, and. Tickets for Concerts, Sports, Theatre and More Online at TicketsInventory.com.

If so, it’s not exactly surprising. Just about the most controversial thing you can say in the 2. You don’t want to get caught opining that the target audience for stories about ostensible adults who respond to traumatic life- events by dressing up in primary- colored pajamas and wandering around looking for wrongs to right – usually in form of nicknamed, elaborately- attired criminals – might not be one that has reached the age of maturity. In some respects this seeming contradiction is understandable: We tend to form our entertainment preferences fairly young, and as such the very foundation of “fandom” as a concept is often about maintaining a long- term appreciation for something that originally appealed to us in our younger days. But the fandom cultures built on those foundations are typically about increasing the depth and breadth of that appreciation by discovering (or inventing) new ways of looking at and enjoying a particular favorite fascination; and the last thing anyone wants to hear about something they’re passionate about is “Why bother, that’s stupid” – or, in this case, “That’s for kids.”Comic book fandom has always seemed especially sensitive to this paradigm, particularly where it concerns superhero books published by the likes of Marvel and DC.

With interconnected universes of mythology that reward broadly- interested long- term readership and ongoing decades- long continuities, it’s easy for these stories to engender an ongoing personal connection with their most devoted readers. Those readers often felt as though their favorite characters were growing and changing alongside them, and resented the implication that they should outgrow something that wasn’t static in the way a cherished childhood toy or a nursery rhyme does: The story ends for your teddy bear the moment you stop imagining that he has one, but Spider- Man always has new stuff going on.“For kids” is too often used as a shorthand for declaring something to be simple, shallow or not worthy of serious consideration – and both fans and creators of sequential art can attest that the medium has been taking itself seriously and yielding work of depth and worth long before mainstream pop- culture started to pay attention. Indeed, the popular notion that comics didn’t start to “grow up” until Stan Lee and Jack Kirby thought to give literalized foibles to The Fantastic Four ignores everything from Will Eisner’s genre- transcending work on The Spirit to William Moulton Marston’s psycho- sexually fascinating Golden Age Wonder Woman stories. So it’s understandable that, when certain creators started publishing superhero books that took established characters and archetypes to dark, violent places in the mid- 1.

Comics: Not Just For Kids Anymore!” as not just affirmation but as a rallying cry for them to come out as adult fans of superhero fiction. And it’s also understandable that the industry would respond by catering to this newly out- and- proud audience.

Watchmen,The Dark Knight Returnsand. Miracleman (aka Marvelman – long, long story) all hit within a few years of one another in the early to mid 1. Watchmen) with dark themes, extreme violence and explicit sexuality. In response the industry opted to transpose the surface- level trappings of those works – mostly the violence and self- consciously aggressive “edginess” – into their mainstream books.

The short- term results were huge sales, but in the long- term it was the beginning of a myopic focus on the older (and, it must be said, predominantly masculine) consumer that created and helped foster the “collector bubble” that ultimately popped in the mid- 9. And now it looks like superhero movies are in a mad dash to repeat the same series of mistakes all over again. The ink was hardly dry on the newspaper headlines proclaiming that the R- rated Deadpool had become a bigger box- office champ than many of its more “accessible” PG- 1. The next Wolverineshould be R- rated, too!” and “How about X- Force: an entire team of R- rated superheroes!” With Deadpool still enjoying its successful stay at the box office, it was announced that Batman V Superman, already being criticized for seemingly continuing Man of Steel’scontroversially brutal vision of DC Comics heroes, will receive an R- rated “director’s cut” on DVD. From a business standpoint, it makes sense.

Batman V Superman remains dogged by reports (like this infamous filing from Hit. Fix) that Warner Bros. The promise of a home- video double- dip (i. The fact that Batman, Superman, etc were originally designed for children and are by- and- large inseparable from that aspect of their inception wasn’t something that those books were trying to “transcend,” it was a fundamental building- block of their satire: What Moore and Miller understood was that children’s characters acting out “adult” sex and violence is – here’s that word again – perverse (literally: It’s a perversion of the material and its intent); and by perverting those characters and/or their genre tropes, the authors turned them into caricatures to deliver a point. In Watchmen, the point was self- criticism: In that book’s alternate history, the publication of Superman led to real- world imitators instead of comic- book knockoffs, and by migrating from fiction (where they can inspire us) to reality (where they can only let us down) these “real life superheroes” wind up destroying their lives, their bodies, their loved ones and eventually the world.

The Dark Knight Returns used a dystopian vision of a near- future DC Universe and caricatures of an older Bruce Wayne and Clark Kent to mock the then- current social politics of the Reagan Era. Marvelman/Miracleman, like Watchmen, effectively argued against its own existence, explicitly showing how applying the inescapably childlike worldview of the superhero genre (“good” and “evil” as tangible, clearly- defined things) to a real world can only ever end in fire and blood. But too many fans of the day, so viscerally charged at the mere sight of blood- splattered Batarangs and media outlets finally treating “their” medium with respect, managed to miss the point: Watchmen was about a fall from grace, but they read it as an “elevation” of the form.

Dark Knight Returns’ blighted future DCU was a warning, but was seen as an ideal for the “real” DCU to strive toward. Mp4 Movies For Ipod Nut Job 2 (2017) here.

Up Close and Personal With the Justice League's Movie Outfits. One of the biggest knocks against the DC Extended Universe has been its general lack of vibrant color compared to the comic books. In exchange for gritty realism, the DCEU—especially its costumes—come across as unsaturated and dour. That’s a shame because, up close, the League’s costumes look great. Last night, Warner Bros. It’s one thing to see the costumes in motion on a screen in a trailer—you know what you’re looking at even though you’re not taking it all in.

But it’s another thing when you actually get a chance to pore over the geometric complexity of Aquaman’s chest armor or the intricate latticework that makes up Cyborg’s abdomen. Surprisingly, all of the costumes are much more vibrant than they’ve looked on screen in a way that makes you wish Warner Bros.