In honor of everyone’s eternal love for the first two Superman movies, I joined AYTIWS theme song writer and friend to all sentient life Jon Cross in his After Movie Diner to discuss these seminal examples of the superhero sub-genre. We owe them more than we can ever say, so consider this yet another way of paying it forward…apart from my own reviews on the subjects, of course.
Jon would like me to remind you that After Movie Diner Podcast is available for download/listening to across all devices on a number of platforms. Pick the one that suits you best today and subscribe
The After Movie Diner Podcast is available for download/listening to across ALL devices on a number of platforms. Pick the one that suits you best today and subscribe!
Feel free to Rate, Review and Comment where appropriate. Because it’s the right thing to do.
Immediately, you should ask yourself, What the fuck is up with that title? Are we going after that Quentin Tarantino demographic, Warner Brothers? Because if you are, you missed your chance when you fucked up Superman/Doomsday, back in 2007.
So you look this up on IMDB, because you’re a lazy hack who made the mistake of getting a “real” job back in 2008 instead of reading comic books, which would’ve been more fulfilling anyway, both spiritually and financially. That’s when you find this is based on an Action Comics arc by now-designated wunderkind Geoff Johns. And your heart sinks at the sight of his name. Or it should. Mine certainly does, because Johns is a mixed bag of a comic book writer if ever there was one.
My more conservative colleagues (the ones who still recoil in horror whenever Precious Bodily Fluids appear in comic books – after all, The Children might be watching, and these people can’t go a day without patronizing The Children – all of them, everywhere, including you; yes, you, because you are A Child if you don’t immediately agree with them and submit to their preferred proto-fascist Strong Father archetype) like to criticize his lack of restraint and habit of killing or sidelining characters he doesn’t like. Every writer does this to some degree, but Johns captured himself a fan base by deliberately doing it in the name of “fixing” certain excesses of the 1990s. Especially when it came to Green Lantern. Continue reading Superman: Unbound (2013)