For better or worse, 2016 will go down as the year DC finally kicked off their cinematic universe. Despite being critical whimpers, both Batman v Superman and Suicide Squad were bona fide box-office bangs, opening to the tune of $166 million and $135 million, respectively. Critics be damned; Warner Bros. is the only franchise studio to see their films open above the $100 million mark. That includes Man of Steel. But success, of course, is measured in the long run. It remains to be seen what kind of legs Suicide Squad will have going into its second and third weekend. That, and the critical decline in DC films so far have put enormous pressure on the next film to be an even bigger hit. Seeing as how WB has been reactively and aggressively tinkering with its own films, perhaps the only thing that can stop the studio is the studio itself, which begs the question: is DC at risk of imploding? Continue reading
Comic book fans are still reeling from the whirlwind of footage shown at Comic-Con. Trailers for Suicide Squad and Batman V Superman undoubtedly stole the show, and the anticipation for DC’s long-awaited summer pairing is at a fever pitch. We now have a better glimpse at what Warner Bros. is trying to create. It’s grand. It’s demented. And my, is it perfect. Continue reading
With Gone Girl finally hitting theaters this weekend, director David Fincher has been making the press rounds, something quite unlike of him to do. Then again, when you’re adapting Gillian Flynn’s bestseller, it’s hard to stay out of the limelight. Fincher usually tries to avoid over-exposure, but his directorial methods are very well known. His reputation precedes him, and with good reason. Whereas most directors settle for a few takes per scene, Fincher aims above and beyond, shooting as many takes as he needs. While this sounds obscene on the surface, I’d like to dig a little deeper into his process to show why he’s the hardest-working and the most misunderstood director in the business.