Was it Kino?

I loved it I love everything Henry is in.

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Just kill me bros

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freya pls.

you'd rank JL over MoS? sad

YOU JUST KNOW

Still the best
youtube.com/watch?v=78N2SP6JFaI

Yep.

shit taste desu famalam

Yes.

Absolutely.

Imagine his T levels

Maybe you’ll have an original taste for yourself and enjoy life a little better if you removed marvels and people’s opinion cock out of your mouth

Your fupa is hindering your view buddy

The way she looks back after and instantly turns her back as she's shy.

How many times has he pounded her Yea Forums?

Nope. It's massive garbage.

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I watched that movie when I was around 8 years old and even then I knew it wasn't right.

Why is he walking on water

Cavill sucks as an actor. He’s the male version of Kristen Stewart.

They really lucked out with Christopher Reeve who had the looks and charisma

This literally gave me an erection

Reeve is top but I liked Cavill.

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no

So why should he have let the kids drown again?

Morons on here think that just because normies like Marvel shit, that they have to like the bland and uninspiring DC movies.

They're both fucking trash, you don't have to like one because normies like the other.

>dude you're invincible and I'm invincible but let's just have a fistfight anyway until the plot demands that one of us be instantly killed by a blow that we would have just shrugged off two minutes earlier

The key to this film is the final flashback shot, of the boy posing in front of the dog: the dog is panting and happy. This is a movie that takes seriously that Superman is an actual posthuman superman - that we are on the level of dogs to him, while he himself is still only a child. This isn't cynicism though. Zack Snyder's Dawn of the Dead presented a love of animals, a willingness to sacrifice oneself for a dog, as the highest expression of goodness. The young girl in that film goes to save a dog, and ends up compromising the security of the shopping mall - pissing off zombie survival nerds everywhere by affirming their slavish devotion to capitalism.

It's the image of a boy playing with his dog that tells Mr. Kent that his son is going to be a decent god. Because though he himself is a dog, his son was raised by dogs and loves them. It's specifically this image of Clark, posing for the dog in his symbolic cape with the belief that the dog will understand, that inspires Mr. Kent's final symbolic gesture. (And again, tacticians are saying 'I'd never rescue a dog... I have to defend the shopping mall...')

The shopping mall - the idea of living in a shopping mall - is the source of the product placement in Smallville. Yes, IHOP probably paid to have logo in there, but is it not profoundly sad to see that this kid has gone only so far in 20-odd years?

Superman loves people, but knows that the system is fucked. And yep, the image of Zod's ships landing outside the Kansas farmhouse is taken straight from Minority Report, in which product placement is similarly invasive. The dream in which Kansas explodes is taken straight from Terminator 2 and directly links Zod with Cyberdyne's Skynet. And of course the film is loosely structured around time travel: the metaphorical idea that Krypton is a future Earth and that Kal is sent 'back' to prevent it from happening 'again'.

>>The destruction of Metropolis is based around around the invasion of hive-minded resource-hungry aliens in Independence Day (not to mention the rescue of the dog), there's the obvious reference to The Matrix and its sequels, and this is just to name a few. The crashed ship in Antarctica covers everything from The Thing to Alien Versus Predator. The point is that IHOP, skynet, the aliens, The Gap, the machines, the thing, SEARS - these are all variable ways of expressing the same concept. Zod is not an enemy of SEARS but an extension of it, a product of it.

These economic concerns lead to the big point that you can't stop what's happening in New York unless you also stop what's happening in India. The whole area around the Indian Ocean is presented (not too pejoratively) as the asshole of the world. Superman's defeat of the robot thing links the image of Fleischer Superman punching the laser beam to ID4's climactic "UP YOURS!" The key detail is that this takes place in the ocean, after the early scene shows us that 'the world is too big', like an infinite ocean, unless we can imagine an island to orient ourselves. Superman imagines Kansas. The world imagines Metropolis. When Zod has lost all bearing, he finds purchase in the symbol of his clenched fist. This is a direct callback to the island that the zombie survivors try to reach in Dawn of the Dead - but the message here, as there, is that this is a mistake. The island is a starting point, but you can't shut out the ocean. You can't stop what's happening in New York unless you also stop what's happening in India.

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The film begins with the premise that krypton sucks because of the decadence. Jor and Zod have competing ideas about how to deal with it (different types of revolution), but they're ultimately not that different. That's probably what makes Zod relatively sympathetic, even though he is insane - unable to break free from his pathological motivations. It isn't until he sheds his armor that he chooses evil as an authentic ethical decision - a choice he makes knowing full well that he will be killed for it. This follows the same throughline as Fishburne's, Costner's, and Meloni's dramatic self-sacrifices.

Part of what makes the violence of the end understandable is that everyone knew that the very appearance of a superman would be destructive, causing massive societal upheaval. The Kents make a point of trying to teach their son the value of a working-class lifestyle before this can happen, in order to help direct this destructive potential. But everyone knew shit was going to go down.

Isn't Superman, in this film, this embodiment of the system who destroys it from the inside? "I'm as American as it gets," he says, while smashing US drones. Though he doesn't literally die in the film, he destroys the last traces of Krypton and chooses humility. There's no 'balance' here. Krypton isn't really harmonious, and neither is anything on Earth (hence the dude trapped in IHOP, the 'slave' machine over India, and Lois being pushed into a shack). Superman's power here is to create imbalance, to destroy and reshape.

When she says "evolution always wins," Faora is referring to her team's belief in biogenetic/cognivist-evolutionary determinism, and the related support of Krypton's 'end of history' free-market economy where the ultra-rich use their economic power to 'breed themselves better' as an enhanced form of class warfare.

As is consistent with the rest of the film, Faora is not referring to violence against individual people but a broader ideological struggle between neoliberal capitalism and an authentically democratic revolution. This isn't symbolized by Superman struggling to save a handful of people, but by the ultimate battle against the world engine - where he leaves the individuals to their own devices and consequently saves everyone.

'Evolution,' in this context, can be read as 'the invisible hand of the free market.' Faora isn't criticizing Superman's battle tactics but presenting her side's victory as an inevitability to which any opposition is futile.

Jesus allegory

>Cease and decease my indestructible male heir.

Kent's act is a direct response to Clark's 'you're not my real dad!': he dies to protect a creature that is not his real son.

The final shot of the film is Kent watching Kid Clark stand in a regal pose above his dog. Kent is clearly acting based on this memory.

If Clark is destined to become King Of The Dogs, the message from Kent is that Superman should be ready to die for them.

Is pose in from of the tornado is the same as Fishburn's pose when he sacrifices his life to the Space 9/11, just to comfort a dying woman. This very act empowers Superman to destroy the apocalypse machine.

t. didn't watch Synder's Dawn of the Dead.

>why yes i'm a fan of snyders work
>in fact MoS and BvS UE are my favorite films JL is fine too
>how did you know?

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