Lhe times are indeed dark for the religion of superheroes on the big screen. Warner Bros-DC Studios and Disney-Marvel Studios, the two major purveyors of the genre for more than twenty years, have accumulated numerous artistic and commercial failures over the last two years, pushing observers to seriously question the future of the genre. Even the public’s desire for it. But the mass has not yet been said. While Marvel will once again evangelize the crowds with a double crusade in 2025 (the dreaded Captain America : Brave New World February 12 and especially Fantastic Four on July 23), DC will once again offer on the altar of the popcorn god its holiest creation, its weapon of mass box office conversion, its crown jewel: Superman.
Written and directed by James Gunn (apostate from Marvel, where he signed the trilogy of Guardians of the Galaxy), this new feature film adapted from the exploits of the most famous and oldest of American super-justices is a major industrial issue not only for the DC Studios parish but also for the entire Warner episcopate and, beyond, the Saint -Hollywood headquarters as a whole. The film has no room for error, if only because of its initial mission: to initiate the new DC bible at the cinema, which will have to be revised from top to bottom after the failure of the post-Man of Steel.
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